“现代化”是二十世纪中国文化文学的核心使命 ,而世纪末的中国文化危机本质上也正是现代性价值和意义的危机 ,这种危机体现在当下文学中 ,便是现代性叙事的崩溃。现代性叙事形成于五四时期 ,文化启蒙与批判是它的内在精神 ,现代人文知识分子则是承担主体 (因而现代知识分子文化正可视为是现代性文化的载体 )。但是 ,这一叙事及其意义体系被后来的革命——政治文化所转换 ,直至“文革”后才逐渐恢复。然而 ,这一过程并不一帆风顺。首先 ,现代性意义叙事在复苏发展过程中 ,过于迷恋自己的社会即时性意义效果 (现实主义小说 )和形式意义(先锋小说 ) ,而逐渐偏离了现代性建构这一世纪目标 ;其次 ,商品经济的兴起引起社会文化的转型 ,导致现代性价值的“落空”和现代性意义叙事的失效 ;第三 ,尤其是后现代思潮的引入 ,对现代性意义及其叙事是一个致命打击 ,它俨然从学理上解构了现代性存在的合法性 ,宣告启蒙与批判的不可能。八十年代末九十年代初王朔的流行和“新写实”的兴起 ,便是现代性叙事危机的体现 ,知识分子文化变得黯然无光。然而 ,只要稍作认真思考 ,便不难发现 ,所谓“现代性伟大叙事的终结”,只不过是中国式后现代理论所设的一个逻辑陷阱。实事求是的考察将向我们揭示出 ,在整个二十世纪文化史? “Modernization” is the core mission of Chinese culture and literature in the twentieth century, and the crisis of Chinese culture at the end of the century is essentially a crisis of values ​​and significance of modernity. This crisis is manifested in contemporary literature as a collapse of modern narrative. Modern narrative is formed in the May 4th period. Cultural enlightenment and criticism are its intrinsic spirit. Modern humanistic intellectuals are the main body of commitment (thus the modern intellectual culture can be regarded as the carrier of modernity culture). However, this narrative and its meaning system were transformed by the subsequent revolution - political culture and gradually recovered only after the “Cultural Revolution”. However, this process is not easy. First of all, in the process of recovery and development, the narrative of modernity is too infatuated with the effect of immediate significance (realism novels) and formal significance (avant-garde novels) of society, and gradually deviates from the target of the century of modernity construction. Secondly, the commodity economy The rise of social and cultural causes the transformation of social and cultural, leading to the failure of the modern value of the “narrative” and the narrative modern significance; the third, especially the introduction of post-modernism, the meaning of modernity and its narrative is a deadly blow, it seems from In theory, it deconstructs the legitimacy of the existence of modernity and declares the impossibility of enlightenment and criticism. The popularization of Wang Shuo and the rise of “new realism” in the late 1980s and early 1990s are the embodiment of the crisis of modernity narrative, and the culture of intellectuals has become saddled with silence. However, as long as we think hard and seriously, we can easily find out that the so-called “end of a great narrative of modernity” is merely a logical trap set by the Chinese postmodern theory. The investigation of seeking truth from facts will reveal to us the cultural history throughout the twentieth century?