二十世纪八十年代中期，阿城以“寻根”作家的身份进入当代文学史，他的“三王” 系列小说代表了其文学的最高水准，也作为“寻根文学”的代表作品被广泛评述。本文试 将阿城的“三王”系列小说作为一个整体，进入八十年代的文学史中，结合文本分析，通 过文学史研究和文化研究、比较研究等方法，分析《棋王》《树王》《孩子王》的文学史 意义。试图跳脱出“寻根”的束缚，在文学史中对阿城及“三王”进行再定位。同时也以 当下的视角进一步解读“寻根”文学思潮，并反观八十年代中后期的作家及作品在中国当 代文学史中扮演的角色与地位。

前两章以文化研究为主，第一章从文本分析入手，对阿城和“三王”的文化回归意识 进行了概述和分析，阐明了“三王”中所内含的民族精神被外化为中国传统文化之“道”， 是民族文化、民族信仰、民族性格和价值追求的现实表达。阿城以边缘人的身份审视后革 命时代的文化语境，借助世俗叙事回归现实主义，同时也在人物塑造上延承古典小说的传 奇模式，完成了自我建构的英雄神话。第二章对阿城的“三王”系列中所展现的现代性倾 向和实践予以阐发。作家在创作实践中摒弃了形式上的现代性探索，聚焦叙事内容的现代 性表达。以个人经验对抗集体经验，以理想主义质疑政治话语，将自我意识和自由精神建 立在人物命运的书写之上。第三章总结其文学史意义，阿城赶上了“寻根”的顺风车，却 不落入“寻根腔”的套路。“三王”将文化意识内化于叙事之中，溢出“知青文学”的边 界，通过“文化”这一命题，打破了单一思维看人与社会关系的狭隘文学格局。他在短暂 的全盛期用文化回归、现代性实践、世俗观体验等丰富了八十年代中国文学的发展，以自 如、从容的写作姿态为文坛带来了新质和转向。

In the mid-1980s, A Cheng entered the history of contemporary literature as a writer of " Root-searching Literature". His "Three Kings" series of novels represented the highest level of his literature and were widely reviewed as the representative works of "Root-searching Literature". This paper tries to take the "Three Kings" series as a whole and enter the history of literature in the 1980s. Combined with text analysis, this paper analyzes the literary significance of "King of Chess", "King of Trees" and "King of Children" through the methods of cultural research, literary history research and comparative study. It tries to break away from the bondage of " Root- searching " and reorient A Cheng and the "Three Kings" in literary history. At the same time, it further interprets the literary trend of thought of "Root-searching" from the current perspective, and reviews the role and status of writers and works in the middle and late 1980s in the history of contemporary Chinese literature.

The first two chapters is given priority to with cultural studies. the first chapter, from the perspective of the text analysis, the regression of A Cheng and "Three Kings" culture consciousness were summarized and analyzed, and illustrates the "Three Kings" included in the national spirit are outside into Chinese traditional culture of the "Tao", is the national culture, national religion and value pursuit of reality. A Cheng, as a marginalized person, examines the cultural context of the post-revolutionary era, returns to realism with the help of secular narrative, and at the same time inherits the legendary model of classical novels in character shaping, thus completing the self-constructed hero myth. The second chapter expounds the tendency and practice of modernity in A Cheng's "Three Kings" series. Writers abandon the formal exploration of modernity and focus on the expression of modernity in narrative content. It confronts individual experience with collective experience, questions political discourse with idealism, and bases self- consciousness and free spirit on the writing of characters' destiny. The third chapter summarizes the significance of his literary history. A Cheng caught the wind of " Root-searching ", but did not fell into the routine. "Three Kings" internalized cultural consciousness in narrative, which overflowed the boundary of "educated youth literature" and distinguished it from other "Root- searching Novels" which point to "culture" by narrative. Through the proposition of "Culture", the "Three Kings" broke the narrow literary pattern of looking at the relationship between human and society with a single thinking. In his brief heyday, he enriched the development of Chinese literature in the 1980s with the return of culture, the practice of modernity and the experience of secular outlook, and brought new quality and turn to the literary world with his free and easy writing attitude.