编织历史与消费文学
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摘要
二月河及其“帝王系列”历史小说自80年代中期问世以来,在读者当中反响强烈,其创作获得了空前的成功,尤其是作品与电视剧成功联姻,使得二月河声名大噪,名利双收,作品在赢得海内外最广大读者群的同时,创作和出版发行都刷新了历史记录,创出了天量,并因此在当代文坛形成了一种所谓“二月河现象”。
作家和作品的成功并非出于偶然,二月河的成功固然得益于作家自身的勤奋和主观努力,但更重要的是在90年代新的社会思潮和文化浪潮中,二月河迎合了历史小说大众化的必然发展趋势。因此,本文旨在分析二月河作品与当下文化环境的关系,并立足于从历史小说的发展中对其作品进行定位和批评。本文以后现代史观的崭新视角来观照二月河及其历史小说创作,将二月河和其历史小说纳入消费社会和大众文化的宏观背景下,探讨二月河历史小说创作中呈现出的独特历史观念,对这一文化现象作出有益的分析和借鉴。
本文在结构上分为引言、正文和结语三个部分。引言部分介绍了米歇尔·福柯的后现代主义理论,并以“百家讲坛”为例,详细探讨了艺术的大众化问题,指出一系列借助传媒喧闹起来的文化现象,都充分体现了目前消费社会的文化背景,而二月河历史小说创作则属于艺术大众化的成功代表。正文部分的第一节从对历史必然性的怀疑、对权威化历史的削弱、对历史客观唯一性的反拨、以个人视角取代宏大叙事等四个方面对二月河的历史观及创作实践进行了深入的剖析。二月河通过对雍正皇帝形象的塑造,刷新了对历史人物的道德判断、历史判断,作者极力渲染雍正的勤于政务、办事干练、雄才大略,不惜一切笔力为雍正正名,塑造了一位励精图治、坚毅果敢的“改革皇帝”;同时虚构了雍正死于乱伦的结局,他“把自己对人生、社会的理解融进自我”,不拘泥于历史成见,构筑了一方极富个性色彩的“历史之域”;二月河“帝王系列”历史叙事自动摈弃僵化的阶级斗争历史观,在着力歌颂康熙大帝的同时,不忘刻划他性格中“小”的一面,揭示了清王朝腐朽没落的本质,点出了《落霞三部曲》“落日的辉煌”这一题中应有之义;二月河“忠实于历史的真实性”,浓墨重彩地对伍次友和邬思道这两个中国传统文化体系中成长起来的知识分子形象进行了渲染,在他们身上概括了封建时代正直而有才华的知识分子的悲剧命运;后现代理论颠覆了现代主义所宣扬的理性主义和宏大叙事观,取而代之以微小叙事。在三部帝王小说中,二月河通过对“规矩草”、太监和菜户的畸形关系、“灯下黑”等的描写,深入阐述了满清王朝一步步走向灭亡的历程和原因,表明封建王朝最终无法逃脱的宿命。并谈到了后现代主义历史观与唯物主义历史观在本质上上是一致的,前者是对后者的有益补充,而二月河历史小说创作正是对两种历史观关系的恰当体现。
正文部分的第二节从二月河历史小说应和了消费社会大众文化消费特点谈起,分别从四个方面进行了阐述。首先,谈到了传统的文学接受方式(阅读)与消费的区别。清帝系列小说问世之后,大众传媒和娱乐界反应持续升温,是二月河的文学观及写作模式决定了他在当下社会环境中的流行;第二,消费社会的文化消费导致艺术家创作态度的变化,消费时代的到来是“现代”向“后现代”转型的一个合乎逻辑的结果,通俗文学作家二月河凭着与生俱来的平民情结,与消费社会构成了一种适应同化的关系,其作品因而赢得了读者青睐。为适应大众的阅读欣赏习惯,二月河采用了“章回体”艺术形式,并集中笔力和才情,描摹了对大众具有极强刺激性和吸引力的各种世俗愿望,展现了医学、棋艺、天文地理、阴阳八卦等各方面的知识,为作品平添了许多趣味性、娱乐性和可读性。
第三,大众文学建构了“平凡叙事”模式,日常生活中的材料进入了艺术表现的领域,在二月河的历史小说中,帝王生活的日常化、平常化、人性刻划的普通化倾向非常明显,对乾隆皇帝的描写就充分体现了这一点。作家以平视的眼光将乾隆皇帝当作普通人来写,使皇帝在天子的庄严之外平添了几分平民色彩。
第四,大众传播媒介对于二月河作品的流行产生了极大的推动作用,电视作为最具有传播深度、广度和效能的大众媒体,对传统文学的霸主地位进行了颠覆。文学作品与电影电视联姻,成为二月河作品发行量剧增和产生广泛效应的“催化剂”,帝王系列一经媒体的宣传、炒作之后,获得了更广泛的读者群和更大的影响力。在谈了传播媒介作用之后,着重介绍了电视剧《雍正王朝》里几个主要人物演员的演技、电视剧所达到的艺术效果、小说所反映出的烛照当下的思想内容。
结语部分重申了二月河历史小说创作产生强烈社会影响的两个原因,一是他的独特历史观,二是作品的特性应和了消费社会文化消费方式的特性。着重谈了促使二月河作品走向成功的深层次原因即它所隐涵的统一的文化背景,民众审美需求的扩大、传媒的强盛等流行文化的生长因子决定了二月河近年来的大红大紫。
Er Yuehe and his“Emperor Series”has evoked story repercussions among the readers ever since it was published on mid-80s. The work won an unprecedented success, further more, its successful connecting with the TV play mad him even more well-known and gained both wealth and fame. The novel got a broad mass of readers from both home and abroad, and the publish have created a new records, which leads to a Er Yuehe phenomenon.
The success is by no means an isolated case. It is sure that this is benefited from his hard work and subjective effort of the author, but what’s more important is that the novel catered to the necessary tendency of the popularity of historical novels in the new trend of social thought and the new tide of culture. Therefore, this article aims in analyzing the relationship between the his work and present cultural environment, moreover, define and criticize his work, footing from the development of the historical novel. The article observes author and his work from a brand new angle of post contemporary concept, brings them within the macroscopic background of the consumer society and mass culture, inquires into the unique historical concept of the creation of the novel and makes some helpful analysis and draws lessons from the cultural phenomenon.
This article contains three parts, including introduction, the body and conclusion. The first part introduces the post contemporary concept of Michelle Focke and takes“Lecture Room”as an example, discusses the popularity of art in detail and point out a series cultural phenomenon that is becoming boisterous with the help of the media, shows cultural background of current consumer society. Whereas“Er Yuehe”belongs to the typical success of the popularity of the art. The first chapter of the body deeply analyses the historical concept and creation from the following four aspects: doubt towards to the people, according to the creation of the image of Emperor Yong Zheng. The author did his best to play up the hard work, competent and intelligence cost, and created a hard working, resolute and courageous“reformer emperor”. Also, fabricated the end of his dying from incest. He put his understanding towards life and society into himself, not rapidly adhere to the historical prejudice and built a special“Zone of history”, The“Emperor Series”abandoned the historical view of rigid class struggle, pointed out the meaning of“the brilliant of the setting sun”of the“Trilogy of the setting rosy clouds”. He is faithful to the reality of the history, strongly applied colors to the tragic destiny of Wu Liyou and Wu sidao, who were both honesty and talented intellectual person. The post contemporary system subverted the reasonism and general narration, succeeded with detailed narration. In the three emperor novels, by the description of“Gui Jv Cao”, the relationship between the description of“Deng Xia Hei”, Er Yuehe sets forth his views to the course and cause of the Manqing Dynasty’s heading for its destruction, which indicates that the feudal dynasty can’t escape from its fatal ultimately. He also discusses that the essence of post contemporary and materialism historical view is just identical, the former is helpful supplement of the latter. Whereas the historical novels written by him just properly embody the relationship of the two point of view.
The second chapter of the body begins with his novels catering to the features of the consumer social culture, expounds the point from four different aspects. Firstly, it talks about the difference between traditional way of receiving literature, reading and consuming. After the punishment of the series about emperors of Qing dynasty, the reaction of mass media and entertainment field promoted continuely, it is Er Yuehe’s view of literature and way of writing determined his popularity among the current society. Secondly, the culture consuming of the society leads to the changes of the artist’s attitudes towards writing, the approaching of the consuming society is a reasonable result of the transform from contemporary to post contemporary, Popular literature writer formed a kind of adaption and assimilating relationship with the consuming society on the ground of his born-to-be emotion with common people. And that’s why his work is widely loved by the people. In order to fit the public’s reading and appreciating habbit, Er Yuehe chose to use the form of“chapters”, and focused his talent in describing various kind of common wishes that are strongly attracting for the general public, showing us an extensive knowledge of medical science, chess art, astronomy, geography, eighty diagram structure, etc, which makes the work more interesting and worth of reading.
Thirdly, the public literature builds up a pattern of“ordinary narration”, the daily routine is brought into the field of art. In the novels of Er Yuehe, the life of emperors is more like our daily life, their characters are obviously communized, which can be seen from the description of Emperor Qianlong. The writer described the emperor as an ordinary person from a different angle, which made the emperor not only solemn but also had a color of common people.
Fourthly, the mass media provided a motive force to the popularity of Er Yuehe’s work. As the most powerful media, the television subverted the dominant status of traditional literature. The cooperation of literary work and TV movies became the catalyst of the increase of the publish and wide effect of Er Yuehe’s work. The“emperor series”won a larger amount of readers and a more powerful influence after the propaganda of the media. After the analysis of the effect of mass media, the writer lays stress on introducing several main characters from Yong Zheng Dynasty, including the actors’acting, the art effect of the TV play, the thought of the current society that is showed by the novel.
The conclusion stresses the two causes of Er Yuehe’s historical novels’wide social influence again. The first one is his unique point of view towards history, the second one is the work’s catering to the way of cultural consuming. It attached great importance to the profound cause of the success of Er Yuehe’s work, that is the united cultural background, the increase of public’s aesthetic appreciation, the popularity of mass media, etc, all of the above items lead to the big success of Er Yuehe.
作家和作品的成功并非出于偶然,二月河的成功固然得益于作家自身的勤奋和主观努力,但更重要的是在90年代新的社会思潮和文化浪潮中,二月河迎合了历史小说大众化的必然发展趋势。因此,本文旨在分析二月河作品与当下文化环境的关系,并立足于从历史小说的发展中对其作品进行定位和批评。本文以后现代史观的崭新视角来观照二月河及其历史小说创作,将二月河和其历史小说纳入消费社会和大众文化的宏观背景下,探讨二月河历史小说创作中呈现出的独特历史观念,对这一文化现象作出有益的分析和借鉴。
本文在结构上分为引言、正文和结语三个部分。引言部分介绍了米歇尔·福柯的后现代主义理论,并以“百家讲坛”为例,详细探讨了艺术的大众化问题,指出一系列借助传媒喧闹起来的文化现象,都充分体现了目前消费社会的文化背景,而二月河历史小说创作则属于艺术大众化的成功代表。正文部分的第一节从对历史必然性的怀疑、对权威化历史的削弱、对历史客观唯一性的反拨、以个人视角取代宏大叙事等四个方面对二月河的历史观及创作实践进行了深入的剖析。二月河通过对雍正皇帝形象的塑造,刷新了对历史人物的道德判断、历史判断,作者极力渲染雍正的勤于政务、办事干练、雄才大略,不惜一切笔力为雍正正名,塑造了一位励精图治、坚毅果敢的“改革皇帝”;同时虚构了雍正死于乱伦的结局,他“把自己对人生、社会的理解融进自我”,不拘泥于历史成见,构筑了一方极富个性色彩的“历史之域”;二月河“帝王系列”历史叙事自动摈弃僵化的阶级斗争历史观,在着力歌颂康熙大帝的同时,不忘刻划他性格中“小”的一面,揭示了清王朝腐朽没落的本质,点出了《落霞三部曲》“落日的辉煌”这一题中应有之义;二月河“忠实于历史的真实性”,浓墨重彩地对伍次友和邬思道这两个中国传统文化体系中成长起来的知识分子形象进行了渲染,在他们身上概括了封建时代正直而有才华的知识分子的悲剧命运;后现代理论颠覆了现代主义所宣扬的理性主义和宏大叙事观,取而代之以微小叙事。在三部帝王小说中,二月河通过对“规矩草”、太监和菜户的畸形关系、“灯下黑”等的描写,深入阐述了满清王朝一步步走向灭亡的历程和原因,表明封建王朝最终无法逃脱的宿命。并谈到了后现代主义历史观与唯物主义历史观在本质上上是一致的,前者是对后者的有益补充,而二月河历史小说创作正是对两种历史观关系的恰当体现。
正文部分的第二节从二月河历史小说应和了消费社会大众文化消费特点谈起,分别从四个方面进行了阐述。首先,谈到了传统的文学接受方式(阅读)与消费的区别。清帝系列小说问世之后,大众传媒和娱乐界反应持续升温,是二月河的文学观及写作模式决定了他在当下社会环境中的流行;第二,消费社会的文化消费导致艺术家创作态度的变化,消费时代的到来是“现代”向“后现代”转型的一个合乎逻辑的结果,通俗文学作家二月河凭着与生俱来的平民情结,与消费社会构成了一种适应同化的关系,其作品因而赢得了读者青睐。为适应大众的阅读欣赏习惯,二月河采用了“章回体”艺术形式,并集中笔力和才情,描摹了对大众具有极强刺激性和吸引力的各种世俗愿望,展现了医学、棋艺、天文地理、阴阳八卦等各方面的知识,为作品平添了许多趣味性、娱乐性和可读性。
第三,大众文学建构了“平凡叙事”模式,日常生活中的材料进入了艺术表现的领域,在二月河的历史小说中,帝王生活的日常化、平常化、人性刻划的普通化倾向非常明显,对乾隆皇帝的描写就充分体现了这一点。作家以平视的眼光将乾隆皇帝当作普通人来写,使皇帝在天子的庄严之外平添了几分平民色彩。
第四,大众传播媒介对于二月河作品的流行产生了极大的推动作用,电视作为最具有传播深度、广度和效能的大众媒体,对传统文学的霸主地位进行了颠覆。文学作品与电影电视联姻,成为二月河作品发行量剧增和产生广泛效应的“催化剂”,帝王系列一经媒体的宣传、炒作之后,获得了更广泛的读者群和更大的影响力。在谈了传播媒介作用之后,着重介绍了电视剧《雍正王朝》里几个主要人物演员的演技、电视剧所达到的艺术效果、小说所反映出的烛照当下的思想内容。
结语部分重申了二月河历史小说创作产生强烈社会影响的两个原因,一是他的独特历史观,二是作品的特性应和了消费社会文化消费方式的特性。着重谈了促使二月河作品走向成功的深层次原因即它所隐涵的统一的文化背景,民众审美需求的扩大、传媒的强盛等流行文化的生长因子决定了二月河近年来的大红大紫。
Er Yuehe and his“Emperor Series”has evoked story repercussions among the readers ever since it was published on mid-80s. The work won an unprecedented success, further more, its successful connecting with the TV play mad him even more well-known and gained both wealth and fame. The novel got a broad mass of readers from both home and abroad, and the publish have created a new records, which leads to a Er Yuehe phenomenon.
The success is by no means an isolated case. It is sure that this is benefited from his hard work and subjective effort of the author, but what’s more important is that the novel catered to the necessary tendency of the popularity of historical novels in the new trend of social thought and the new tide of culture. Therefore, this article aims in analyzing the relationship between the his work and present cultural environment, moreover, define and criticize his work, footing from the development of the historical novel. The article observes author and his work from a brand new angle of post contemporary concept, brings them within the macroscopic background of the consumer society and mass culture, inquires into the unique historical concept of the creation of the novel and makes some helpful analysis and draws lessons from the cultural phenomenon.
This article contains three parts, including introduction, the body and conclusion. The first part introduces the post contemporary concept of Michelle Focke and takes“Lecture Room”as an example, discusses the popularity of art in detail and point out a series cultural phenomenon that is becoming boisterous with the help of the media, shows cultural background of current consumer society. Whereas“Er Yuehe”belongs to the typical success of the popularity of the art. The first chapter of the body deeply analyses the historical concept and creation from the following four aspects: doubt towards to the people, according to the creation of the image of Emperor Yong Zheng. The author did his best to play up the hard work, competent and intelligence cost, and created a hard working, resolute and courageous“reformer emperor”. Also, fabricated the end of his dying from incest. He put his understanding towards life and society into himself, not rapidly adhere to the historical prejudice and built a special“Zone of history”, The“Emperor Series”abandoned the historical view of rigid class struggle, pointed out the meaning of“the brilliant of the setting sun”of the“Trilogy of the setting rosy clouds”. He is faithful to the reality of the history, strongly applied colors to the tragic destiny of Wu Liyou and Wu sidao, who were both honesty and talented intellectual person. The post contemporary system subverted the reasonism and general narration, succeeded with detailed narration. In the three emperor novels, by the description of“Gui Jv Cao”, the relationship between the description of“Deng Xia Hei”, Er Yuehe sets forth his views to the course and cause of the Manqing Dynasty’s heading for its destruction, which indicates that the feudal dynasty can’t escape from its fatal ultimately. He also discusses that the essence of post contemporary and materialism historical view is just identical, the former is helpful supplement of the latter. Whereas the historical novels written by him just properly embody the relationship of the two point of view.
The second chapter of the body begins with his novels catering to the features of the consumer social culture, expounds the point from four different aspects. Firstly, it talks about the difference between traditional way of receiving literature, reading and consuming. After the punishment of the series about emperors of Qing dynasty, the reaction of mass media and entertainment field promoted continuely, it is Er Yuehe’s view of literature and way of writing determined his popularity among the current society. Secondly, the culture consuming of the society leads to the changes of the artist’s attitudes towards writing, the approaching of the consuming society is a reasonable result of the transform from contemporary to post contemporary, Popular literature writer formed a kind of adaption and assimilating relationship with the consuming society on the ground of his born-to-be emotion with common people. And that’s why his work is widely loved by the people. In order to fit the public’s reading and appreciating habbit, Er Yuehe chose to use the form of“chapters”, and focused his talent in describing various kind of common wishes that are strongly attracting for the general public, showing us an extensive knowledge of medical science, chess art, astronomy, geography, eighty diagram structure, etc, which makes the work more interesting and worth of reading.
Thirdly, the public literature builds up a pattern of“ordinary narration”, the daily routine is brought into the field of art. In the novels of Er Yuehe, the life of emperors is more like our daily life, their characters are obviously communized, which can be seen from the description of Emperor Qianlong. The writer described the emperor as an ordinary person from a different angle, which made the emperor not only solemn but also had a color of common people.
Fourthly, the mass media provided a motive force to the popularity of Er Yuehe’s work. As the most powerful media, the television subverted the dominant status of traditional literature. The cooperation of literary work and TV movies became the catalyst of the increase of the publish and wide effect of Er Yuehe’s work. The“emperor series”won a larger amount of readers and a more powerful influence after the propaganda of the media. After the analysis of the effect of mass media, the writer lays stress on introducing several main characters from Yong Zheng Dynasty, including the actors’acting, the art effect of the TV play, the thought of the current society that is showed by the novel.
The conclusion stresses the two causes of Er Yuehe’s historical novels’wide social influence again. The first one is his unique point of view towards history, the second one is the work’s catering to the way of cultural consuming. It attached great importance to the profound cause of the success of Er Yuehe’s work, that is the united cultural background, the increase of public’s aesthetic appreciation, the popularity of mass media, etc, all of the above items lead to the big success of Er Yuehe.
引文
[1] 张小琴.试析福柯的系谱学,西安教育学院学报,2000.4
[2] 二月河.二月河作品自选集,河南文艺出版社 1999 年版
[3] 二月河.二月河作品自选集·新年杂想及雍正[C],郑州:河南文艺出版社,1999
[4] 出自二月河做客新浪嘉宾聊天室的谈话节选
[5] 二月河.二月河作品自选集[M].郑州:河南文艺出版社,1991
[6] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[7] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[8] 周熠.二月河论历史小说创作,人民日报海外版.2003 年 2 月 28日
[9] 二月河文集.雍正皇帝·九王夺嫡,长江文艺出版社.1991 年版
[10] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[11] 参见 karl r. popper, the open society and its enemies, 5th ed., vol.2, ch.25, “has history any meaning?” routledge & kegan paul, 1966.
[12] 马芳芳、丁尘馨.专访二月河:我为什么歌颂康熙雍正乾隆[J].(北京)中国新闻周刊.2003 年第 34 期
[13] 卧龙论坛.1993 年第 4 期
[14] 卧龙论坛.1993 年第 4 期.李海燕,谭笑.晚霞璀璨,黑暗将归——二月河谈他的“落霞”系列小说[J].东方,2000.4
[15] 二月河文集.康熙大帝·夺宫初政,长江文艺出版社.第十回,苏中堂喋血西菜市 伍次友危言动天听
[16] 二月河文集.康熙大帝·夺宫初政,长江文艺出版社.第十五回,魏东亭登门会提台 苏曼姑婉言劝书生
[17] 商聚德等主编.中国传统文化导论,河北大学出版社,1996 年 4月第一版,第 277 页
[18] 二月河文集.康熙大帝·乱起萧墙,长江文艺出版社,第二十五回,受刑杖佳人侍汤药 猜酒枚策士说朝局
[19] 周熠.二月河论历史小说创作,人民日报海外版.2003 年 2 月 28日
[20] 二月河做客新浪时谈话
[21] 二月河文集.乾隆皇帝?风华初露,长江文艺出版社,第四十二回,乾隆帝漫撒“规矩草” 高大庸巧献“黄粱膳”
[22] 二月河文集.乾隆皇帝?云暗风阙,长江文艺出版社,第二十四回,说谣传宫闱惊帝心 探病榻兄弟交真语
[23] 卧龙论坛.1993 年第 4 期
[24] 二月河文集.乾隆皇帝?夕照空山,长江文艺出版社,第十二回,旧宗亲慕名投门墙 真文豪巧造无材汤
[25] 罗钢、王中忱.消费文学读本[M].北京:中国社会科学出版社,2003
[26](英)迈克·费瑟斯通原著.消费文化与后现代主义[M].刘精明译,刘东、黄平主编,南京:译林出版社 2000 年版
[27](英)迈克·费瑟斯通.消费文化与后现代主义[M]. 北京:译林出版社,2001
[28] 金元浦,陶东风.阐释中国的焦虑——走向文化的世纪[M].北京:中国国际广播出版社,1999
[29](英)迈克·费瑟斯通原著.消费文化与后现代主义[M].刘精明译,刘东、黄平主编
[30] 连连.大众文化的现代性及其内在矛盾探讨[J].中国人民大学复印报刊资料(文化研究),2001.1
[31] 二月河.致读者[J].卧龙论坛,1993.4
[32] 二月河.致读者[J] .卧龙论坛,1993.4
[33](英)阿克顿.自由与权力——阿克顿勋爵论说文集[M].北京:商务印书馆,2001
[34](美)威尔伯·施拉姆,威廉·波特.传播学概论[M].北京:新华出版社,1984.2
[35] 丹尼尔·贝尔.资本主义文化矛盾[M],北京:三联书店,1989
[36] 尹鸿.世纪转型:当代中国的大众文化时代,电影艺术,1997.1
[1] 张德礼.二月河历史叙事的文化审美建构,人民出版社,2005.11
[2] 黄会林.当代中国大众文化研究,北京:北京师范大学出版社,1998
[3] 金民卿.大众文化论——当代中国大众文化分析,北京:中共中央党校出版社,2002
[4] 陆扬、王毅.大众文化研究,上海:上海三联书店,2001
[5] 邹广文主编.当代中国大众文化论,国家“九五”哲学社会科学基金项目研究成果,沈阳:辽宁大学出版社,2000.12
[6] 路文斌.历史想象的现实诉求,百花洲文艺出版社,2003
[7] 刘俐俐.隐秘的历史河流,天津人民出版社,2002
[8] 安吉拉·默克罗比.后现代主义与大众文化,田晓菲译,北京:中央编译出版社,2001
[9](美)伯格.通俗文化、媒介与日常生活的叙事,姚媛译,南京:南京大学出版社,2000
[10](英)迈克·费瑟斯通著.刘精明译,消费文化与后现代主义,刘东、黄平主编,译林出版社,2000 年第一版
[11] 陆扬、王毅.大众文化与传媒,上海三联书店,2000 年 10 月
[12] 陈刚.大众文化与当代乌托邦,北京:作家出版社,1996.7
[13] 潘知常、林玮.上海人民出版社,2002.3
[14] 苗棣、王昕主编.大众文化与审美:电视艺术论,北京广播学院出版社,2004.1
[15] 张法.福柯与历史重写,华中师范大学学报(人文社会科学版),2002.4
[16] 许婉璞、张波.福柯:解构传统历史观与知识论的哲学谱系学,河北师范大学学报(哲学社会科学版),2006.9
[17] 高峰.福柯《知识考古学》及其批评——一个马克思主义的视角,湘潭师范学院学报(社会科学版),2004.4
[18] 王利民.解释过去 了解现在——从系谱学看福柯的历史社会观,理论天地,2000.12
[19] 王育红.二月河历史小说的“大众化”特征,文史苑 2005.4
[20] 刘克.当代清朝题材小说热点作品的突破与局限,新疆大学学报(社会科学版)2004.4
[21] 沈云霞.论二月河清帝系列小说的艺术追求与经验教训,海南大学学报(人文社会科学版)2004.4
[22] 张书恒.评二月河“清代帝王系列”小说,文学评论 1999.2
[23] 徐亚东.二月河“帝王系列”小说审美品格论,南阳师范学院学报(社会科学版)2003.1
[24] 张书恒.倾斜的道德与思想天平_论二月河“帝王系列”的思想文化内涵(南京师范大学文学院学报)2003.6
[25] 齐裕焜.“二月河”清帝系列小说得失谈,《福建师范大学学报》(哲学社会科学版)2000.2
[26] 吴秀明.当代历史小说中的明清叙事,文学评论 2002.4
[27] 徐亚东.冷与热的背后——“二月河现象”文化解读,文艺评论,2004.6
[28] 张德礼.实践理性:二月河历史小说的哲理意蕴,南都学坛(人文社会科学学报),2006.6
[29] 吴秀明、王军宁.大众文化视野中的二月河历史小说创作,海南师范学院学报(社会科学版),2006.6
[30] 论文参阅的二月河文集为长江文艺出版社出版,2001 年 2 月第1 版,2006 年 1 月第 12 次印刷,共 13 卷本。分别为: 卷一,康熙大帝·夺宫初政 卷二,康熙大帝·惊风密雨 卷三,康熙大帝·玉宇呈祥 卷四,康熙大帝·乱起萧墙 卷五,雍正皇帝·九王夺嫡 卷六,雍正皇帝·雕弓天狼 卷七,雍正皇帝·恨水东逝 卷八,乾隆皇帝·风华初露 卷九,乾隆皇帝·夕照空山 卷十,乾隆皇帝·日落长河 卷十一,乾隆皇帝·天步艰难 卷十二,乾隆皇帝·云暗风阙 卷十三,乾隆皇帝·秋声紫苑
[2] 二月河.二月河作品自选集,河南文艺出版社 1999 年版
[3] 二月河.二月河作品自选集·新年杂想及雍正[C],郑州:河南文艺出版社,1999
[4] 出自二月河做客新浪嘉宾聊天室的谈话节选
[5] 二月河.二月河作品自选集[M].郑州:河南文艺出版社,1991
[6] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[7] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[8] 周熠.二月河论历史小说创作,人民日报海外版.2003 年 2 月 28日
[9] 二月河文集.雍正皇帝·九王夺嫡,长江文艺出版社.1991 年版
[10] 二月河.二月河语,昆仑出版社 2004 年 1 月版
[11] 参见 karl r. popper, the open society and its enemies, 5th ed., vol.2, ch.25, “has history any meaning?” routledge & kegan paul, 1966.
[12] 马芳芳、丁尘馨.专访二月河:我为什么歌颂康熙雍正乾隆[J].(北京)中国新闻周刊.2003 年第 34 期
[13] 卧龙论坛.1993 年第 4 期
[14] 卧龙论坛.1993 年第 4 期.李海燕,谭笑.晚霞璀璨,黑暗将归——二月河谈他的“落霞”系列小说[J].东方,2000.4
[15] 二月河文集.康熙大帝·夺宫初政,长江文艺出版社.第十回,苏中堂喋血西菜市 伍次友危言动天听
[16] 二月河文集.康熙大帝·夺宫初政,长江文艺出版社.第十五回,魏东亭登门会提台 苏曼姑婉言劝书生
[17] 商聚德等主编.中国传统文化导论,河北大学出版社,1996 年 4月第一版,第 277 页
[18] 二月河文集.康熙大帝·乱起萧墙,长江文艺出版社,第二十五回,受刑杖佳人侍汤药 猜酒枚策士说朝局
[19] 周熠.二月河论历史小说创作,人民日报海外版.2003 年 2 月 28日
[20] 二月河做客新浪时谈话
[21] 二月河文集.乾隆皇帝?风华初露,长江文艺出版社,第四十二回,乾隆帝漫撒“规矩草” 高大庸巧献“黄粱膳”
[22] 二月河文集.乾隆皇帝?云暗风阙,长江文艺出版社,第二十四回,说谣传宫闱惊帝心 探病榻兄弟交真语
[23] 卧龙论坛.1993 年第 4 期
[24] 二月河文集.乾隆皇帝?夕照空山,长江文艺出版社,第十二回,旧宗亲慕名投门墙 真文豪巧造无材汤
[25] 罗钢、王中忱.消费文学读本[M].北京:中国社会科学出版社,2003
[26](英)迈克·费瑟斯通原著.消费文化与后现代主义[M].刘精明译,刘东、黄平主编,南京:译林出版社 2000 年版
[27](英)迈克·费瑟斯通.消费文化与后现代主义[M]. 北京:译林出版社,2001
[28] 金元浦,陶东风.阐释中国的焦虑——走向文化的世纪[M].北京:中国国际广播出版社,1999
[29](英)迈克·费瑟斯通原著.消费文化与后现代主义[M].刘精明译,刘东、黄平主编
[30] 连连.大众文化的现代性及其内在矛盾探讨[J].中国人民大学复印报刊资料(文化研究),2001.1
[31] 二月河.致读者[J].卧龙论坛,1993.4
[32] 二月河.致读者[J] .卧龙论坛,1993.4
[33](英)阿克顿.自由与权力——阿克顿勋爵论说文集[M].北京:商务印书馆,2001
[34](美)威尔伯·施拉姆,威廉·波特.传播学概论[M].北京:新华出版社,1984.2
[35] 丹尼尔·贝尔.资本主义文化矛盾[M],北京:三联书店,1989
[36] 尹鸿.世纪转型:当代中国的大众文化时代,电影艺术,1997.1
[1] 张德礼.二月河历史叙事的文化审美建构,人民出版社,2005.11
[2] 黄会林.当代中国大众文化研究,北京:北京师范大学出版社,1998
[3] 金民卿.大众文化论——当代中国大众文化分析,北京:中共中央党校出版社,2002
[4] 陆扬、王毅.大众文化研究,上海:上海三联书店,2001
[5] 邹广文主编.当代中国大众文化论,国家“九五”哲学社会科学基金项目研究成果,沈阳:辽宁大学出版社,2000.12
[6] 路文斌.历史想象的现实诉求,百花洲文艺出版社,2003
[7] 刘俐俐.隐秘的历史河流,天津人民出版社,2002
[8] 安吉拉·默克罗比.后现代主义与大众文化,田晓菲译,北京:中央编译出版社,2001
[9](美)伯格.通俗文化、媒介与日常生活的叙事,姚媛译,南京:南京大学出版社,2000
[10](英)迈克·费瑟斯通著.刘精明译,消费文化与后现代主义,刘东、黄平主编,译林出版社,2000 年第一版
[11] 陆扬、王毅.大众文化与传媒,上海三联书店,2000 年 10 月
[12] 陈刚.大众文化与当代乌托邦,北京:作家出版社,1996.7
[13] 潘知常、林玮.上海人民出版社,2002.3
[14] 苗棣、王昕主编.大众文化与审美:电视艺术论,北京广播学院出版社,2004.1
[15] 张法.福柯与历史重写,华中师范大学学报(人文社会科学版),2002.4
[16] 许婉璞、张波.福柯:解构传统历史观与知识论的哲学谱系学,河北师范大学学报(哲学社会科学版),2006.9
[17] 高峰.福柯《知识考古学》及其批评——一个马克思主义的视角,湘潭师范学院学报(社会科学版),2004.4
[18] 王利民.解释过去 了解现在——从系谱学看福柯的历史社会观,理论天地,2000.12
[19] 王育红.二月河历史小说的“大众化”特征,文史苑 2005.4
[20] 刘克.当代清朝题材小说热点作品的突破与局限,新疆大学学报(社会科学版)2004.4
[21] 沈云霞.论二月河清帝系列小说的艺术追求与经验教训,海南大学学报(人文社会科学版)2004.4
[22] 张书恒.评二月河“清代帝王系列”小说,文学评论 1999.2
[23] 徐亚东.二月河“帝王系列”小说审美品格论,南阳师范学院学报(社会科学版)2003.1
[24] 张书恒.倾斜的道德与思想天平_论二月河“帝王系列”的思想文化内涵(南京师范大学文学院学报)2003.6
[25] 齐裕焜.“二月河”清帝系列小说得失谈,《福建师范大学学报》(哲学社会科学版)2000.2
[26] 吴秀明.当代历史小说中的明清叙事,文学评论 2002.4
[27] 徐亚东.冷与热的背后——“二月河现象”文化解读,文艺评论,2004.6
[28] 张德礼.实践理性:二月河历史小说的哲理意蕴,南都学坛(人文社会科学学报),2006.6
[29] 吴秀明、王军宁.大众文化视野中的二月河历史小说创作,海南师范学院学报(社会科学版),2006.6
[30] 论文参阅的二月河文集为长江文艺出版社出版,2001 年 2 月第1 版,2006 年 1 月第 12 次印刷,共 13 卷本。分别为: 卷一,康熙大帝·夺宫初政 卷二,康熙大帝·惊风密雨 卷三,康熙大帝·玉宇呈祥 卷四,康熙大帝·乱起萧墙 卷五,雍正皇帝·九王夺嫡 卷六,雍正皇帝·雕弓天狼 卷七,雍正皇帝·恨水东逝 卷八,乾隆皇帝·风华初露 卷九,乾隆皇帝·夕照空山 卷十,乾隆皇帝·日落长河 卷十一,乾隆皇帝·天步艰难 卷十二,乾隆皇帝·云暗风阙 卷十三,乾隆皇帝·秋声紫苑