【作者】 李冰；

【导师】 殷国明；

【作者基本信息】 华东师范大学 ， 中国现当代文学， 2020， 硕士

【副题名】以“寻根文学”为中心

【摘要】 八十年代中期的寻根思潮是中国当代文学史上重要的文学潮流,关于这场文学潮流三十多年来许多的学者都从各个方面进行了回顾与解读,但是这座文化宝藏依然还有许多未开采的地方。由于寻根潮流本身的复杂与丰富,所以想要真正进入八十年代的文学现场,从具体的作家创作入手不失为一种有效的方法。李杭育的创作贯穿寻根潮流,一方面如同大多数的寻根派作家,他也是知青出身,另一方面他也是寻根口号最早的倡导者之一,他的《最后一个渔佬儿》、《沙灶遗风》不仅令他成为了知名作家,并且后者让他获得了全国短篇小说大奖,而此后这两篇被当时主流文坛所赞赏的作品,转身成为了寻根文学的代表作之二。而1988年左右李杭育逐渐放弃了他的“葛川江”文学世界,开始从寻根转向,这不仅是兴趣的转向,也是他的寻根文学创作遭遇困境之后的挣脱。故本论文主要聚焦于李杭育七十年代末到八十年代后期的创作,试图通过对其创作之旅的解读来透视寻根本身的发展历程。此外,本文还用了对比分析的方法,以李杭育的“葛川江”世界与汪曾祺的作品为例,在对比中大致廓清寻根小说与风俗文化小说的异同。并且还用单独用一章来解读“审美现代性”在李杭育的寻根小说中的展现。更多还原

【Abstract】 The root-seeking trend of thought in the mid-1980 s is an important literary trend in the history of contemporary Chinese literature.About 30 years ago,many scholars have reviewed and interpreted from various aspects,but this cultural treasure still has many The place of mining.Due to the complexity and richness of the root-seeking trend itself,it is an effective method to start from the specific writer’s creation if you want to truly enter the literary scene of the 1980 s.Li Hangyu’s creation runs through the root-seeking trend.On the one hand,like most root-seeking writers,he is also an educated youth.On the other hand,he is also one of the earliest advocates of the root-seeking slogan.His "The Last Fisherman" Not only did he become a well-known writer,but the latter also earned him the national short story award,and since then these two works,which were appreciated by mainstream literary circles at that time,have turned into the second masterpiece of rootseeking literature.And around 1988,Li Hangyu gradually abandoned his "Ge Chuanjiang" literary world and began to shift from root-seeking.This was not only a shift in interest,but also a struggle after his root-seeking literature creation encountered difficulties.Therefore,this paper mainly focuses on Li Hangyu’s creations from the late 70 s to the late 1980 s,which is regarded as a perspective of the development process of seeking roots through the interpretation of his creative journey.In addition,this article also uses a comparative analysis method,taking Li Hangyu’s "Ge Chuanjiang" world and Wang Zengqi’s works as examples,in the comparison,the differences between the rootseeking novels and the custom culture novels are roughly cleared.It also uses a separate chapter to interpret the the modern aesthetic of Li Hangyu’s root-seeking novels.更多还原