摘要
Since the 1990s, the generation gap among three important groups of writers born in the 1950s, 1960s and 1970s has become ever more evident. Not only do they show a tendency toward the weakening of grand narrative and sense of responsibility and the strengthening of individual aspirations, they also show different aesthetic traits in terms of narrative form. Some advocate a realist style, while others pursue modernist techniques or are enamored of fragmentary details. At the same time, each generation projects its own aesthetic ideas. From the viewpoint of cultural anthropology, this kind Of generation gap essentially implies the effect of the latent protocols of different historical-cultural contexts and memories of growing up on the human spirit. Although the generation gap is an expression of a plural cultural scene, the question of how to strengthen intellectual interaction between different generations of writers and effectively overcome the limitations of each generation remains an important aspect of the promotion of the healthy development of modern Chinese literature.
从20世纪90年代开始，“代际差别”越来越突出地体现在新时期50、60和70年代出生的三个重要作家群中。他们不仅在叙事内容上表现为宏大叙事和使命意识的不断弱化、个人化意愿的不断增强；还在叙事形式上体现为或崇尚写实风格，或追求现代手法，或迷恋于碎片化细节等不同的审美特质，同时也折射了各自不同的审美观念。从文化人类学的角度看，这种代际差别实际隐含了不同历史文化语境和成长记忆对人类精神的潜在规约。代际差别虽然是多元文学格局的一种表现，但是，如何加强代际间的精神交流，有效克服代际内部各自的局限性，同样是促进中国当代文学健康发展的一个不可忽略的重要方面。
