《主角》:“解构”与“建构”二元场域下复归的宏大叙事

Protagonist:the Grand Narrative of Reversion in the Dual Field of“Deconstruction”and“Construction”

纵观上世纪九十年代,尤其是新世纪以来的当代文学,“文学史断裂说”未被彻底定论,新世纪文学仍与传统宏大叙事主题有着千丝万缕的联系,此时的一系列文学现象体现了“解构”与“建构”二元场域下复归的宏大叙事。陈彦在《主角》中通过重构“受难——成长”这一叙事原型,于儒道佛三家文化的审美理想中追寻失落的信仰,于时代变革中为文化寻根、探寻秦腔的困境与出路,于个体关注与社会关注之间探求个人自我与社会自我的关联,通过延展对民族国家叙事的时间,揭示民俗文化及社会文化的主题,展现了作者塑造宏大叙事的努力。

Throughout the contemporary literature in the 1990s,especially since the entry into the new century,“the theory of literary history rupture”seems to be inconclusive.Literature in the new century is still inextricably linked with the traditional grand narrative theme.If the“theory of literary history rupture”really exists,this series of literary phenomena in the new century can be seen as the grand narrative in the dual field of“deconstruction”and“construction”.Chen Yan’s Protagonist,by reconstructing the narrative prototype of“suffering growth”,pursues the lost belief in the great cultural aesthetic ideal of Confucianism,Taoism and Buddhism,explores the dilemma and the solution of Qin Opera in the era of cultural change,explores the relationship between individual self and social self between individual concern and social concern,and displays folk culture and social culture by extending the time of nation-state narrative.The theme reflects the efforts to create a grand narrative.