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新世纪以来,长篇小说的开头较之以前发生了显著变化。有的长篇小说将真实与虚构以悖论的方式扭结在一起,以打开小说隐藏的内部空间;有的长篇小说以讲述替代描写;有的长篇小说甚至刻意让开头消失,使结尾指向开端,客观上实现了循环往复的效果。本文认为,长篇小说的开头在形式上的种种创新之处,来源于小说家对于世界、对于我们所处的这一时代的理解的变化。当下的长篇小说,越来越将天平倾向于个人一端。以上种种表征,使长篇小说所呈现的世界成为主观化的、小说作者化的世界。之所以如此,某种程度上是因为小说家对于世界的认识出现了巨大的困难。
Since the beginning of the new century, the beginning of novels has changed significantly from the previous one. Some novels kink together the paradox of reality and fiction in order to open the hidden inner space of novels, some novels to describe alternative depictions, and some novels even deliberately make the beginning disappear and the ending point to the beginning, objective On the realization of the cycle of the results. This article argues that the various forms of innovation at the beginning of a novel originate from the novelist’s understanding of the world and of the times in which we live. Today’s novels are more and more inclined to personal balance one end. All the above representations make the world presented by novels subjective and the authorized world of novels. This is partly due to the tremendous difficulty that novelists have in recognizing the world.