乐山师范学院学报

黄平在《革命时期的虚无:王小波论》中勾勒出理解王小波作品的一条线索,即"历史创伤—反讽—虚无—自由"。值得注意的是,王小波对现实主义文论有着独特的判断,通过这点可以看到王小波的作品还存在着一条暗线:"秩序重压—反现实倾向—探索—想象—诗意家园"。在这一内在逻辑链条形成的过程中,与旧有文学秩序的对立情绪是破解王小波创作理念的密码。随着"反现实倾向"的逐渐生成,王小波逐步走向了体制之外,也远离了以"鲁郭茅巴"和托尔斯泰为代表的正统文学秩序。《青铜时代》的成书贯穿着王小波的探索历程,其中,《万寿寺》以其叙事之精致和想象之丰富,构成了王小波的"奇幻世界"和"诗意家园"。

In the Nothing in the Revolutionary Period: Wang Xiaobo's research, Huang Ping outlines a clue to the understanding of Wang Xiaobo's works, that is, "historical trauma-irony-nothingness-freedom." The author believes that Wang Xiaobo's novels are by no means only this clue. Wang Xiaobo has a unique view of realist literary theory. According to this idea, Wang Xiaobo's works show a dark line: "order pressure-anti-reality tendency-exploration-imagination-poetic home". In the process of this internal logic forming a chain, the opposite emotion to the old literary order-realism is the password to break Wang Xiaobo's creative concept. It was during the gradual process of the "antireality tendency" concept that Wang Xiaobo gradually moved beyond the system and also kept him away from the orthodox literary order represented by "Guo Lu Mao Ba" and Tolstoy. The book Bronze Age represented by Wanshou Temple runs through Wang Xiaobo's exploration process. Among them, Wanshou Temple is the most representative, and with its exquisite refinement and rich imagination, it constitutes Wang Xiaobo's "poetic home" and "imagination kingdom".