本文的主要研究对象为中国当代文学中的城市叙事，论述以北京、上海为中心，辐射其他相关城市，通过分析文学文本中有关城市及其市民生活的代表性书写，梳理中国当代文学城市叙事的基本谱系与叙事模式，发现文学叙事与中国社会的现代转型、中国特色现代性的发生和演变之间的复杂关系。 中国文学城市叙事经历了从古典叙事到现代叙事的转型，围绕着北京、上海两个中心，沿着一城独角戏到双城记再到多城并存的谱系演进，最终形成了当代文学中的城市叙事群落。 老舍和张爱玲的写作，构成了当代文学中北京叙事和上海叙事的前史，并开启了与现代社会转型相对应的两种书写方式。北京叙事的核心是城与人关系的嬗变，老舍在现代语境下，建构了北京人由“贫民”到“平民”再到“人民”的历史逻辑。王朔则突破了这一政治现代性影响下的逻辑链条，以戏谑、反讽和狂欢化的方式，把城与人的同构关系置换为失落的个人与时代之间的关系。邱华栋站在后现代立场上，表现了城与人的双重异化；徐则臣的“北漂系列”与春树一起，构成北京的底层打工者和边缘人景观。上海叙事的核心是对日常生活的表现，王安忆承继了张爱玲对普通人生活的传奇书写，却又植入了一个历史传奇的对应物，不仅建构了新时期的上海形象，重述了上海的日常生活史，还追寻了上海之为上海的历史渊源。金宇澄重新结构语言和言语的关系，复活了上海70年代和90年代的生活现场。卫慧释放了身体和欲望，建构起一个后现代的“肉体上海”，郭敬明则把上海的殖民地历史和当下社会现实结合，塑造了一块只遵循经济逻辑的“商品租界”。 城市叙事的核心是对中国人现代生活的表述，即对人在现代社会中的根本性体验的书写，北京叙事和上海叙事构成了两种言说方式：在时间的维度，一种围绕着政治现代性展开，另一种则围绕着生活现代性展开；在空间的维度上，一种是自然与文化属性，表现为半封闭式形态，另一种是社会和生活属性，表现为封闭式形态。 中国文学的城市叙事经历了从古典叙事到现代叙事的转型，这种转型是全方位的，不仅仅是叙事内容，而且表现为语言、结构等诸多文体学层面的改变。在与中国古代文学城市叙事和西方文学城市叙事的比照中，中国文学城市叙事形成了相对稳定的模式，并成为中国特色现代性的特殊表现形式。当前的中国文学正处在乡土叙事、小镇叙事和城市叙事的并置时期，逐渐向以城市叙事为主流过渡。

This thesis mainly researches on the narratives of cities in Chinese contemporary literature, with a focus on Beijing and Shanghai, extending to some other cities. This paper aims to summarize the evolution systems and patterns of narrations in Chinese contemporary literature by analysing representative writings on cities and their people in order to understand the complex relationship between narratives and Chinese society, the occurrence of Chinese modernity and its development. Narratives of cities in Chinese literature have undergone the changes from classical ways of narration to modern ways of narration. It was centred on Beijing and Shanghai, from one city tale to a tale of two cities and now to the story of multiple cities. And finally, a tribe of Chinese city narratives has been established. Lao She and Zhang Ailing have marked the start of the narratives of Beijing and narratives of Shanghai in Chinese contemporary literature, which also mark the start of two ways of writing in response to China’s modern social transformation. The narratives of Beijing concentrate on the gradual change in relationship between the city and its people. Lao She, in modern context, constructed the historical logic that Beijingers have changed from the poor, to the ordinary to the people. However, the writer Wang Shuo has made further breakthrough in this, who has used irony, humour and carnivalistic devices to display the relation between the lost individual and the times in reflection of the relation between the city and its people. Qiu Huadong, on a stance of post modernism, presents the dual alienation of the city and people whereas Xu Zechen’s series of floaters in Beijing and Chun Shu’s works have constructed the social picture of marginalized people and migrant workers who struggle at the bottom of society. As of narratives of Shanghai, the core is to present the daily life. Wang Anyi has carried on the legacy of Zhang Ailing that writing is for the legends of ordinary people’s life but at the same time she has implanted another correspondence to historical legend. In this way, not only has she constructed the image of Shanghai in new times, retold the history of daily life in Shanghai, but also she has traced the historical origins why Shanghai is Shanghai. Jin Yucheng has reconstructed the relation of langue and parole and revived the life scenes of Shanghai in 1970s and 1990s. Wei Hui has liberated her body and desire to build up a “sexual Shanghai” in times of post modernism. When it comes to Guo Jingming, he turned the colonized history and current social reality into a “Commodity Settlement” where people only follow the logic that materialism matters above all. The core of narratives of cities is the expression and representation of Chinese people’s modern life, which is, the writing of our living experience in modern society. The narratives of Beijing and the narratives of Shanghai have showcased two ways of langue: in the dimension of time, one unfolds centred on political modernity while the other unfolds based on life modernity. In the dimension of space, one is of natural and cultural essence and is semi-closed in form whereas the other is of social and life essence and is closed in form. The narratives of cities in China have experienced transformation from classical narration to modern narration. This transformation happens in all spectra, in contents, languages, structures and other stylistic features. In comparison and contrast with Chinese ancient narratives of cities and western narratives of cities, Chinese contemporary narratives of cities have become a unique representation of Chinese modernity and have formed a relatively stable pattern of narration. Currently, Chinese literature is at a period when narratives of rural areas, small counties and cities co-exist and is gradually moving towards a mainstream of narratives of cities.