本论文尝试考察二十世纪八十年代初期小说中的抒情话语，并聚焦于四位小说家，由此探讨这一时期文学所特有的美学价值和历史意义。本论文认为，尽管诗歌以其对社会现实的迅捷反应成为这一时期文学的“排头兵”，但小说依然是中心文类，特别是抒情话语的渗入，构成了这一时期小说的显著特色。二十世纪八十年代初期小说的抒情话语与意识形态话语之间存在密切联系。正是通过与意识形态话语中的“革命”、“现代化”、“人民”、“人道主义”四个不同维度展开对话，二十世纪八十年代初期的小说重构了文学的民族国家想象，呈现出这一时期文学的独特品质。王蒙、张洁、张承志和汪曾祺作为这一时期的四位重要小说家，以各自的文学实践，展现了一代知识分子在时代话语与个人精神探索之间的艰难选择。本论文主要分五章对于二十世纪八十年代初期小说中的抒情话语展开论述：第一章描绘了抒情时代来临的种种现象与征兆。活跃于二十世纪八十年代前期中国文坛的作家们正是通过抒情话语逐步建构了他们的价值、理想以及表达其价值、理想的方式。论文梳理了抒情话语的研究路径，并依据抒情话语与意识形态的关系将二十世纪八十年代前期的小说分为两类，进而讨论抒情背后“个人”观念的现代变迁。第二章以王蒙小说中的抒情话语为中心考察知识分子与革命的关系。在“革命”认同开始失效的时代，王蒙等“归来”作家积极呼应时代的主题，对于“革命”信仰的一再重申试图重新凝聚或者强化曾经有过的“革命”认同。为了回避过分抒情，王蒙在小说叙述中采用了反讽的修辞形式。同时，他开始了回到生活世界的抒情。第三章以张洁小说中的抒情话语为中心考察知识分子对于现代化的想象与规划。对于未来的乌托邦式的想象共同塑造着张洁和二十世纪八十年代初期的小说创作。张洁通过抒情话语的反复实践，意欲从意识形态中拯救出 “个人”，将“爱”视作一个历经浩劫、满目废墟的社会重建自己，开启新的航程的动力之源，也为论证改革合法性提供情感支撑。第四章以张承志小说中的抒情话语为中心考察“知青”一代作家的“人民”认同。“人民”这一概念构成了中介，取代了之前个人对以革命、政党和阶级为核心的国家政权的直接认同。但是，对“人民”无限度的崇拜在某种程度上也忽略了个体的独特性。第五章以汪曾祺小说中的抒情话语为中心考察他的“人道主义”理想。汪曾祺反对离开故事单独抒情，认为可以通过“理想化”的方式来抒情。他用“对于生活带有抒情意味的情趣”替换了现实主义的意识形态内涵，实现了“人道”和“抒情”的融合。结语部分指出抒情话语在与意识形态对话的过程中包含了丰富的内涵，象征着二十世纪八十年代的知识分子对于“新时期文学”的一种设计：从个人出发，建构“共同体”。这一路径为遭遇“个人主义”之困的当下文学实践提供了有益启示。

This paper takes the lyrical discourse of novels in early 1980s as its subject. Novelists Wang Meng, Zhang Jie, Zhang Chengzhi and Wang Zengqi are chosen for case study. It is analyzed in this paper where and how the lyrical discourse was demonstrated in the novels of that time. Most of the efforts in this paper are contributed to the analysis of the complicated relations between lyrical discourse and ideology, which reflected the unique aesthetic value and historic significance to that specific period.Chapter I is contributed to the description of various phenomena and signs predicting the arrival of a lyric era. It is through the lyrical discourse of their novels that novelists active in early 1980s gradually constructed their value and dream, and the way they have them expressed. This chapter also summarizes similar researches in this field, divided the novels of that age into 2 categories according to the relations between lyrical discourse and ideology, and discussed the evolution of INDIVIDUALconcepts reflected through the lyrical discourse of these novels.Chapter II, through analyzing the lyrical discourse of Wang Meng’s novel, discusses the relationship between the intellectuals and the Revolution. The ‘returned’ novelists, represented by Wang Meng, responded to the theme of that age. At a time when the Revolution is no longer recognized, the reiteration of Revolutionary Beliefs reflected a social trend that someone would like to resume or reinforce the once-widely-accepted recognition over the Revolution. In order to avoid abusing lyrical discourses, novelist Wang Meng used irony as the rhetoric devices in the narration. At the same time, his lyrical discourses shifted to the field of life.Chapter III, through analyzing the lyrical discourseof Zhang Jie’s novels, makes a research on intellectuals’ vision and planning on modernization. A utopian vision of the future influenced the works of Zhang Jie and her contemporary novelists. Through repeated application of lyrical discourse in her works, Zhang Jie was trying to separate the concept of INDIVIDUAL from ideology. She regarded LOVE as one of the driving forces for the reconstruction of a catastrophe-torn society and therefore her works provided spiritual support to the legitimacy of the reform.Chapter IV, through analyzing the lyrical discourse of Zhang Chengzhi’s novels, makes a research on the educated youth’ s recognition over the PEOPLE. The recognition of the PEOPLE replaced that of the once-widely-recognized state authority featured with revolution, political party and social classes. However, the admiration on the PEOPLE to an unlimited degree led to negligence of the distinctiveness of individuals.Chapter V, through analyzing the lyrical discourse of Wang Zengqi’s novel, makes a research on his HUMANITARIANISM concept. Novelist Wang Zengqi was against the practice of separating lyrical discourses from the specific social context. He believes that lyricism may be expressed through an idealized way. In his works, his temperament of lyric-featured life replaced the ideological contents of realism, and perfectly synchronized humanitarianism and lyricism.The conclusion part points out that the lyrical discourse maintains very rich connotations during its interaction with ideology. All fictions studied in this paper reflected and represented a kind of vision and designing of intellectuals of 1980s on the New Period Literature and the time further beyond, that is, ‘constructing a common recognition in an individual-oriented way’, which may provide very helpful enlightenment to the nowadays literature trapped by INDIVIDUALISM.