广播作为现代化的传播媒介曾在中国社会起到重要作用，既是国家用于宣传教育和基层治理的工具，也通过日常化、家庭化的方式深嵌普通民众的日常生活之中，成为人们获取信息、娱乐消遣乃至文学接受的途径。本文关注1978至1989年间，广播电台播出新时期的文学作品，以其声音化的叙事形态和大众化的接受模式，在实现政治功能的基础上，更多向着文学本身的属性回归，不仅促进文学的传播，而且介入到文学现场之中重塑文学格局，深刻影响了八十年代文学经典的生成。

电台广播对八十年代文学经典的生成，既体现在文学有声化对当代文学生产传播与接受的变革，凸显区别于印刷媒介的纯文学观念和更为丰富的文学现场，也具体表现为与纸质文学的彼此互动，利用媒介技术优势促进文学经典的生成。论文第一章从历史、理论和文学三个角度，考察了八十年代小说广播的基本概况，提出小说广播引发当代文学变革；接着在作家作品的层面上具体分析电台广播对八十年代文学经典的生成，以个案的方式考察电台广播对不同类型作品的作用：第二章关注电台广播与新时期文学的发生，探讨新时期文学如何在广播电台中播出，进而指出广播不仅促成作家创作的发生，也在社会转型期生成新的听觉文化；第三章关注电台广播与茅盾文学奖作品的传播，将《许茂和他的女儿们》《将军吟》置于创作、出版和传播的谱系中综合考察；第四章以《平凡的世界》和《穆斯林的葬礼》为例，重点分析中央人民广播电台播出这两部作品的过程和意义，强调广播媒介对文学经典化起到的关键作用；第五章以《夜幕下的哈尔滨》为例，从跨媒介生产的角度探讨电台广播与通俗文学的经典化，认为广播电台对通俗文学的播出，使小说超出了文字的既有规定性，在听觉的层面上带给听众不同于阅读的情感体验。

广播电台对作品的播出不仅有力推动了八十年代文学的传播，也通过声音技术塑造出文学作品不同于书面文字的听觉特性，作用听众的感受，进而反过来促成文学经典的生成。因此，电台广播对文学经典的作用乃是不同于精英文学话语的“自下而上”的生产机制，建立在普通听众对文学的接受层面，从而形成更具传播、接受基础的文学经典的媒介路径。总之，本文通过对声音维度的彰显，不仅有助于我们还原八十年代更加丰富的生态场域，构造出“有声的文学”，为文学史增添“音轨”，也要释放出声音和听觉的潜能，打开当代文学的历史多质性。

As a modern media, radio has played an important role in Chinese society. It is not only a tool used by the state for propaganda and education and grass-roots governance, but also embedded in the daily life of ordinary people through a daily and family-oriented way, becoming a way for people to obtain information, entertainment and even literary acceptance. This paper focuses on the broadcasting of literary works in the new era by radio stations from 1978 to 1989. With its voice based narrative form and popular acceptance mode, based on the realization of political functions, it returns to the attributes of literature itself, which not only promotes the spread of literature, but also involves in the literary scene to reshape the literary pattern, profoundly affecting the generation of literary classics in the 1980s.

The generation of the literary classics of the 1980s by radio broadcasting is not only reflected in the transformation of the production, transmission and acceptance of contemporary literature by the voice of literature, which highlights the pure literary concept different from the print media and richer literary scene, but also in the interaction with the paper literature, which uses the advantages of media technology to promote the generation of literary classics. The first chapter of the thesis examines the basic situation of the novel broadcasting in the 1980s from three angles of history, theory and literature, and proposes that the novel broadcasting initiates the reform of contemporary literature; Then, at the level of writers’ works, it analyzes the generation of radio broadcasting to the literary classics of the 1980s, and examines the role of radio stations in different types of works in a case-by-case way: Chapter 2 focuses on the occurrence of radio broadcasting and the literature of the new era, discusses how the literature of the new era is broadcast in the radio broadcasting, and then points out that radio not only contributes to the creation of writers, but also generates a new auditory culture in the period of social transformation; The third chapter focuses on the dissemination of the radio broadcasting and the Mao Dun Literature Award, and places Xu Mao and His Daughters and General Yin in the genealogy of creation, publication and dissemination; The fourth chapter takes The Ordinary World and The Muslim Funeral as examples, focusing on the process and significance of the two works broadcast by the Central People’s Radio, and emphasizing the key role of the radio media in literacy canonization; The fifth chapter, taking Harbin under the Night as an example, discusses the canonization of radio and popular literature from the perspective of cross-media production, and believes that the broadcasting of popular literature by radio makes the novel go beyond the existing provisions of the text, bringing the audience different emotional experience from reading.

This paper argues that the broadcasting of works by radio stations not only effectively promoted the spread of literature in the 1980s, but also shaped the auditory characteristics of literary works different from written words through sound images, which acted on the feelings of the audience, and in turn contributed to the generation of literary classics. Therefore, the generation of literary classics by radio stations is a “bottom-up” production mechanism different from the elite literary discourse, which is based on the reception of literature by ordinary listeners, so as to generate a media path of literary classics with more communication and acceptance basis. In a word, by highlighting the dimensions of sound, this paper will not only help us restore the more abundant ecological field of 1980s, construct a “vocal literature”, add “sound track” to the literary history, but also release the potential of sound and hearing, and open up the historical pluralism of contemporary literature.