The Snail House TV version is very faithful to the original novel. The banning of TV series Snail House not only reflects the non - ecological characteristic of the contemporary cultural context, but also exposes the structural lack of the whole contemporary literary creation ： 1. realism makes Snail House follow the emotional logic and life logic character on the characterization and plot structure , not like the contemporary urban novels which write the urban marginal group with civilization disease on the modernism or post - modernism cultural position ; the Snail House reflects that contemporary literature has forgotten the＂ May 4＂literature realism ; 2. the tragic of Snail House grips the ordinary people in the real life, which is different from ＂17 years＂ literature and the post - cuhural revolution literature which is the historicization of tragedy ; it is also different from the pioneer literature , feminism literature, root- searching literature which culturalzed and philosophized tragedy ; Snail House makes tragedy reflect the universality of Scheler sense , also breaks the ideology myth that the contemporary Chinese literature does not have real tragedy. 3. the strong practical critical spirit of the Snail House reflects the predicament in the Chinese realistic contemporary literature creation, and realism has been an ideological strategies, and makes the＂ real life＂ in the contemporary literature lost. Therefore, the development of Chinese contemporary literature does not have the ecological significance of the ＂bush style＂, and more like a beautiful and pale ＂penning art＂.%《蜗居》的电视版非常忠实于小说原作。电视剧《蜗居》的被禁不仅折射出了当代文化语境的非生态性，更暴露了整个当代文学创作的结构性匮乏：一是，写实性使《蜗居》在塑造人物、构置情节上遵循人物的情感逻辑和生活逻辑，而非当代都市小说那样在现代主义或后现代主义的文化立场上书写都市文明病中的边缘群体，《蜗居》折射出了当代文学对“五四”文学“写实性”的整体性遗忘；二是，《蜗居》的悲剧性紧扣现实生活层面中的普通人，既不同于十七年文学、文革后文学将悲剧历史化处理，也不同于先锋文学、女性主义文学、寻根文学等将悲剧文化化或哲学化处理，《蜗居》使悲剧体现了舍勒意义上的那种普遍性，也打破了当代中国文学无现实悲剧的意识形态神话；三是，《蜗居》强烈的现实批判精神折射出了现实主义文学在中国当代文学创作中的困境，现实主义已被沦为一种意识形态策略，从而使“现实生活”在当代文学中遭到遗失。因此，中国当代文学的发展不具备生态学意义上“灌木丛式”，而更像是一株美丽而苍白的“盆景艺术”。
展开▼
