论《最后一个渔佬儿》和《沙灶遗风》中的新旧关系

On the Relationship Between the New and the Old in The Last Fisherman and The Remains of the Sand Stove

在《最后一个渔佬儿》和《沙灶遗风》中,李杭育重点塑造了福奎和耀鑫两个“最后一个”形象。但他在表现这两个“落后者”形象的同时,并未将阿七和阿苗等新人物简单地置于“落后者”的对立面。李杭育通过时代发展下的落后者和新人物来表现当时社会发展下复杂的新旧关系。这种新旧关系的书写与作者当时孤独的创作心态有关,也反映了当时社会复杂的“心理情结”。这是《最后一个渔佬儿》和《沙灶遗风》获得成功的根本原因。此后,李杭育的“葛川江文化”逐渐成形,进而推动了寻根文学的产生和发展。

Li Hangyu takes Fukui and Yaoxin as two"last one"image in The Last Fisherman and The Remains of the Sand Stove.However,he did not put Ahqi and Ahmiao and other new characters simply in the opposite of the laggard while presenting these two images.Li Hangyu expressed the complicated relationship between the old and the new under the development of the times through the laggards and new figures.The writing of this new relationship is related to the author's lonely creation mentality at that time,and also reflects the complex"psychological complex"of the society at that time.This is the root cause of the success of The Last Fisherman and The Remains of the Sand Stove.After that,Li Hangyu's"Gechuanjiang Culture"gradually took shape,which promoted the generation and development of Root-seeking Literature.