“水”边少年与“水”“火”“土”的汇合--“曹文轩新小说”中“风景”新变的多重意义

“Waterside”Boy and the Conjunction of “Water,”“Fire” and “Soil”:The Multiple Meanings of the “Scenery” in “Cao Wenxuan's New Novels”

"曹文轩新小说"作为"国际安徒生奖"的获得者、中国当代作家曹文轩的最新"成长小说",不仅在"水"边少年这一特别"风景"的塑造上发生了新变,而且在"水"的核心"风景"的审美风格上也发生了新变。不仅如此,"曹文轩新小说"实现了"水边少年"与"水"、"火"、"土"这三种不同审美形态的"风景"的汇合,进而构成了新世纪中国成长小说的新"风景"。这些新变足以表明:"曹文轩新小说"不仅进一步探索了新世纪中国成长小说的新路,而且在文学史意义上实现了古典主义美学精神、现代主义美学精神与现实主义美学精神的兼容,进而以"挽救性"美学思想来承担新世纪中国文学的时代使命。

Cao Wenxuan’s new novels take the form of“bildungsroman,”which has not only shaped the peculiar“scenery”of the“waterside”boy but also demonstrated some changes in aesthetic style of the core“scenery”of“water.”Cao Wenxuan's new novels relate the image of awate-side”boy with three different aesthetic“sceneries”of“water,”afire”and asoil,”and thus ex-plored the new way of Chinese bildungsromanin the new century.These new changes actualized the compatibility of classical,modernist and realistic aesthetic spirits in the sense of literary his-tory,carrying on the mission of the times of Chinese literature in the new century with aremedi-al?1 aesthetic thought.