《河山传》与贾平凹长篇小说的现实主义新变

He Shan Zhuan and Jia's New Realism Development

《河山传》以时间为经,以洗河和罗山杂糅共生的双线叙事为纬,建构了以日常生活时空为架构的美学体系。在垃圾、女性等叙事基础上推进了实与虚,形而下与形而上的日常生活诗学。日常现实主义直面日常生活断片,还原吃喝拉撒的日常生活全貌,关注金字塔的社会底部和生活流的历史细部,在事件和细节变换中实现了现实主义的转换。《河山传》以混杂的日常重建美丑统一的审美理想,打破了好坏和正邪的固有判断模式,书写了以洗河和罗山传记为寓言的中国式现代化的精神史。随着民间、民俗、民工甚至民国等叙事范畴的生产和传播,现实主义的内生动力与创新活力被不断激发。贾平凹意识到机械处理生活真实的僵化现实主义做法的无力,试图将被意识形态遮蔽和筛选过滤的社会生活真实,重构为敞开的原生态日常生活真实。而被压抑的作者也随之被解放和赋能。社会现实题材的精心选择,平实细腻的日常用心与直击现场的心灵真实,建构了在传统二元对立结构的城乡图谱中精神融通的可能性。《河山传》是贾平凹回望和致敬改革开放时代的树碑之作。

It is constructed of the aesthetic system by frame of everyday life in He Shan Zhuan,which composes of time and double narration of Xihe and Luoshan.Based on the rubbish and female,Jia Pingwa forms poetics of everyday life includes reality and symbolization.We can use daily realism to describe the truest life just like bottom of pyramid and tiny histories.The fiction displaies the spiritual history of reform and open China,which shows the mixed ways of artistic idea.With the production of folk,customs,farm workers and the Republic of China,the inner resources of realism are inspired.Jia knows that he should use the new ways to try to display the true life.Jia hopes to harmonize the gap between city and village through different psycological methods.The fiction is the cenotaphic work representing Jia’s understanding.