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1、目錄中文摘要····················································································……····················································································……·····················································································
2、·····引言……第一章領異標新汪曾棋與外國現代主義文學······························……第一節(jié)西南聯(lián)—大與汪曾祺現代意識的萌發(fā)滋長···························……·································第二節(jié)卞之琳等譯介文學對汪曾祺的影響……第三節(jié)“純小說”觀念的理論思索··········································，··…第四節(jié)走在時尚前面一點先鋒性的小說創(chuàng)作····················
3、····……—·············································第二章融入新質文學薪火的傳承……第一節(jié)汪曾棋—與晚明文學······················································……第二節(jié)跨越時空的對接汪曾祺與歸有光······························……—從魯迅到············……第三節(jié)中國現代詩話小說的一脈相傳汪曾祺第三章邊緣敘事先鋒文體的自覺實踐—·······················
4、················……—··························，·········第一節(jié)語言游戲從工具論到本體論……第·—·同構·························································……二節(jié)情調客觀··········································“”第三節(jié)童年視角下的另一種真實……第四章悲憫審視汪曾棋小說的悲劇思維形態(tài)······························……第一節(jié)悲劇意—識的
5、覺醒·························································……第“隱伏”的悲劇從沈從文到汪曾祺······························……二節(jié)—························第三節(jié)對立與均衡中西方文化影響下的悲劇觀……—···························“”第五章重塑民間文學的啟蒙傳統(tǒng)的承傳……—·······································“”第一節(jié)異質性民間寫作立場的堅
6、守……第二節(jié)民間還原與生命意識的張揚··········································……第三節(jié)人文理想與民間意識的融合··········································……第四節(jié)民間·啟蒙·現代性······················································……·························································結語汪曾棋的文學史意義……參考文獻
7、·················································································……致謝·······················································································……攻讀博··········································……士學位期間發(fā)表的學術論文目錄山東大學博士學位論文中文摘要汪曾祺是個銜接現、當代的作家
8、，用錢理群先生的話說汪曾祺是個很難歸。“”類的獨特的小說家那么汪曾棋小說的異質性何在他在當代文學史的意義又是什，。么研究者們做了大量具體而扎實的研究工作取得了不小的成績但研究熱點多在其小說藝術審美風格的審視上，研究對象主要集中在其年代復出后的創(chuàng)作，對年代風格基本定型期與年代。評論界風格驟變期研究相對薄弱對其小說創(chuàng)作，
