《平凡的世界》是作家路遥的重要作品，也是影响至今的“常销书”。小说出版之后 在文学批评界遇冷，在大众读者遇到高涨的热情。冷热“两极化”接受命运的原因是小说 的通俗性不满足专业读者的审美要求，却符合大众读者的阅读兴趣。本文从《平凡的世界》 的通俗性入手，结合文学性、人民性、时代性维度思考“两极化”接受命运的原因及启发。

绪论部分对《平凡的世界》接受史进行梳理。既从文本内部寻找小说“冷热”兼具的 原因，还结合文化研究思考小说的当代接受。

第一章梳理总结《平凡的世界》问世以来的接受情况。《平凡的世界》1986 年发表后 在“现代”风尚的文学场中遇冷。90 年代重要的当代文学史教材对该小说集体忽视。新世 纪“重返八十年代”研究让路遥重回学术视野。2015 年电视剧《平凡的世界》的播出再次 引起文学界的评论热潮。相比于文坛声音由冷回暖，大众读者“官”“民”同频发言，《平凡的世界》收获主流称赞和民间支持，成为广受宣传和欢迎的当代小说作品。

第二章通过文本细读方式分析《平凡的世界》“大众化”的原因，包括苦难叙事的文学魅力、高于日常的理想寄托、以中国传统价值观为核心的道德主题、人物身份的张力关系、议论抒情的语言风格等都增强了小说的通俗性，便于亲近普通读者尤其是无产阶级大众。此外，《平凡的世界》在资本主义劳动和社会主义劳动之外开辟了第三种劳动话语，即个人劳动与道德人情相结合，符合新时期新期待，所以得到官方的宣传支持。

第三章分析《平凡的世界》存在的艺术缺憾。主要体现在语言和人物两方面。小说语言不够准确节制，动词多重复，无法标识人物性格和命运的特殊性；名词多是抽象的宏大的人生社会概念，没有落到具体的点；形容词继承了革命浪漫主义风格，“雄伟的矸石山”其实是反弹过来形容盖楼挖石的劳动人民。路遥追求高大全的形象美学，但细究孙少平的命运史和路遥以及弟弟王天乐之间的罅隙，会看到孙少平忽视乃至美化现实中的职业身份歧视问题。同时也有批评家指出，孙少平与高加林相比过于“满”，作家与人物之间没有缝隙，无法显示社会结构性问题，留下的审美言说空间就小了。

第四部分讲述《平凡的世界》的当代性，即小说的底层叙事、劳动话语、青年理想在当代是否依然有效。小说无论叙事形式还是人物形象都带有明显的 80 年代特征。新世纪以来，社会问题愈加复杂，《平凡的世界》式励志话语是否适配今天青年群体的精神世界？以及需要怎样的文学作品反映今天破碎的现象和心灵？

The Ordinary World is an important work of the writer Lu Yao , and it is also a "popular book" that has been influential so far. After the novel was published, it met with a cold reception in the literary criticism circle and a high enthusiasm among the public readers. The cold and hot polarization acceptance of the Ordinary World has also become a literary "phenomenon". The reason is that the popularity of the novel does not meet the aesthetic requirements of professional readers, but conforms to the reading interest and level of public readers. Therefore, this paper explains the popularity of the The Ordinary World, opens the gap between the dimensions of literariness, popularity and modernity, and goes deep into the meaning space.

The introduction part combs the research history of The Ordinary World. We should not only find the reasons for the "cold and hot" of novels from the inside of the text, but also consider the modernity of novel discourse in combination with cultural studies.

The first part combs and summarizes the reception and communication of The Ordinary World since its publication. The first The Ordinary World was published in 1986, and it was cold in the circle of literary criticism. The important contemporary literature history textbooks in the 1990s ignored the novel collectively. In the new century, the study of "returning to the 1980s" has brought Lu Yao back to his vision. The broadcast of the TV drama in 2015 caused a climax of literary criticism. Compared with the sound of the literary world, the public readers "official" and "civilian" speak at the same frequency, making The Ordinary World an important novel since the reform.

The second part analyzes the reasons for the popularity of The Ordinary World in the past 40 years. First, look at the vivid suffering narration, idealistic sustenance, traditional folk values, narrative tension of characters, and popular language style in the text. The Ordinary World has the characteristics of traditional popular novels, which conforms to the expectation vision and aesthetic taste of ordinary readers. In addition, The Ordinary World opens up a third kind of labor discourse in addition to capitalist labor and socialist labor. This discourse realizes both economic development (capitalism values) and ideal morality (socialism favors), whichconforms to the new expectations of the new era, so it is supported by the propaganda of the official media.

The third part analyzes the reasons why The Ordinary World has not been canonized by the college. Using the method of close reading of the text, the lack of artistry of the novel is mainly reflected in the language and characters. The language of the novel is rough. Taking the analysis of verbs, nouns and adjectives as examples, it fails to accurately describe the scenes and characters' emotions (while scenes and characters are the most important factors in the aesthetics of the novel); The author's narrative language makes the text "separate" and has obvious subjectivity of the author. Critics have also pointed out that Sun Shaoping is too "full" compared with Gao Jialin, and there is no gap between writers and characters, which can not show the social structural problems, so the space left for aesthetic expression is small.

The fourth part tells the contemporaneity of The Ordinary World, that is, whether the underlying narrative, labor discourse and youth ideal of the novel are still effective in the contemporary era. Both the narrative form and the characters in the novel have obvious characteristics of the 1980s. In the new century, social problems are becoming more and more complex. Is the inspirational discourse of The Ordinary World appropriate? What kind of literary works are needed to reflect today's broken phenomena and minds?