明清时期的小说呈现出了整体的世情化倾向，以“三言”“二拍”《金瓶梅》《红楼梦》为代表的世情小说，把中国古典小说推向高峰。自此，中国一代又一代作家，多受其泽被。本文主要从创作的角度出发，分析先锋作家对世情传统的继承和创化。

晚明思想解放潮流对近世文化影响深远，世情小说在某种意义上就是这一潮流下壮大的。世情小说虽有种种时代局限，但表现出的解放人欲的个人主义精神，在客观上冲破了中国封建思想的长期禁锢。正因如此，学术界视之为中国“内生现代性”的萌芽。先锋作家横空出世，不仅打破文学惯性的束缚，而且以个性精神挣脱思想捆绑，在此情形下，他们借鉴世情小说，续接现代性传统，亦为自然之事。第一章分为“拟艳情叙事”“拟话本叙事”“拟《金瓶梅》叙事”和“拟《红楼梦》叙事”四个部分。“拟艳情叙事”主要围绕格非、苏童、北村创作的武则天为主角的新历史小说，分析先锋作家在塑造武则天形象时表现出的“艳趣”和男权意识。“拟话本叙事”挖掘《兄弟》《十字铺》《小舅理生》等作品蕴含的“三言”“二拍”隐形结构；“拟《金瓶梅》叙事”从仿写、反写和续写三个角度出发，探索了“一夫多妻”和“因果报应”等叙事模式的再现；“拟《红楼梦》叙事”围绕女性悲剧与男性自溺两个角度，分析先锋作家文化无意识层面对《红楼梦》的继承。第二章立足于中国伦理本位主义文化。先锋小说中呈现了爱面子、脸面共享等观念，而人情的亏欠和赠予、人与人的对峙与斡旋，织就了复杂多变的人情之网，表现出了所谓世态炎凉。世情小说中对于欲望的矛盾心态，在先锋作家笔下的欲望叙述中再度显现，在人情与欲望的层面上，先锋小说无疑接续了世情小说。第三章分析先锋作家笔下的“旧人物”。世情小说围绕着世俗男女的欲望和情感，产生了以潘金莲、西门庆、贤妻良母、惧内者、婆子等俗人形象，本章分析先锋作家笔下人物形象所折射出的中国的伦理道德观念和近世以来的市民意识。第四章围绕语言的雅化和俗化进行分析。世情小说将市井俗语纳入文学语言，并由文人创作形成了化俗为雅的白话；对物态的精细描摹，提高了白话的细节表现能力。语汇的扩容和表现力的增强，促成了近代白话的成熟。先锋作家为突破此前语言的观念和历史语境，不仅吸收世情小说语言，而且几乎采用了世情小说同样的语言创造模式——对现代白话进行了俗化和雅化的处理，并通过对细节和感觉的铺写，进一步发展了现代白话。世情叙事传统是中国文学最重要的本土资源之一。探索先锋作家对世情叙事传统的继承和创化，有助于我们在传统文化观念和叙事资源中，找到真正的“中国故事”“中国经验”和“中国写法”。

The novels of the Ming and Qing dynasties showed an overall tendency to pay attention to mundane life. The classical social novels represented by San yan er pai（“三言”“二拍”）,The Golden Lotus（《金瓶梅》） ,The Dream of the Red Chamber（《红楼梦》） are known as the masterpieces of Chinese novels, which significantly influenced the later authors. This paper mainly analyzed the inheritance and innovation of classical social novels by pioneering writers from the perspective of creative writing.

The ideological emancipation in the late Ming Dynasty had profound effects on Chinese Literature. To some extent, the classical social novel had begun to flourish under this background. Despite the limitations of the age, the classical social novels presented the individualistic spirit and sexual liberation, objectively breaking through the long-term imprisonment of Chinese feudalism. Therefore, the academics regard it as the source of Chinese “early modernity”. The pioneering writers also broke the boundaries of fixed concepts with individualistic spirit. Under such circumstances, it was natural for them to inherit classical social novels to exploring modernity. The first chapter was divided into four parts: the parody of erotic narrative type, the parody of Storytelling narrative type, the parody of The Golden Lotus narrative type, and the parody of The Dream of the Red Chamber narrative type. The first part mainly focused on the new historical novels with “Wu Zetian” profile reformed by Ge Fei, Su Tong and Bei Cun, and analyzed “interest of eroticism” and patriarchal consciousness that the pioneering writers shown in their portrayal of “Wu Zetian”. The second part mainly focused on the motif of San yan er Pai contained in the pioneering novels. The third part mainly focused is on the reproduction of narrative modes such as "polygamy" and "karma" from the perspectives of parody, counter-writing and continuation. The fourth part mainly focused on female tragedy and male self-indulgence, and analyzed the inheritance of the Dream of the Red Chamber by the pioneer writers from the perceptive of the cultural unconscious. The second chapter was based on the Chinese ethical culture. Pioneer novels presented the idea of face-saving and sense of group honor. And the complexity and variability of interpersonal relationships in the novels showed the indifference of social atmosphere. The ambivalence about desire of classical social novels is as similar as the narratives of desire written by pioneer writers. Undoubtedly, pioneer novels inherited from classical social novels on the level of interpersonal relationships and desire narratives. The third chapter analyzed the "classic characters" created by the pioneering writers. Classical social novels concentrated on the desires and emotions of people and portrayed such mundane figures as Pan Jinlian, Ximenqing, virtuous wives and mothers, henpecked husband and woman matchmaker. This chapter analyzed the Chinese ethical culture and the civic consciousness since modern times, which were reflected in the characters created by the pioneer writers. The fourth Chapter focused on the analysis of the elegance and vulgarization of language. There were many slangs and colloquialisms in classical social novels, which were used by the authors in aesthetic level. In the context of intellectual creation, the language of these novels also showed a tendency of elegance, especially the detailed writing of objects, which enhanced the charm of the vernacular to express details. The expansion of vocabulary and the improvement of expressive force enhanced the maturity of the modern vernacular. In order to break down the language barrier, pioneer writers not only absorbed the language of the classical social novel, but also adopted almost the same mode of language creation, the vulgarization and elegance of the modern vernacular, as the classical social novel. And they facilitated the maturity of the modern vernacular by elaborating on details and feelings. The classical social novel was one of the most important traditions of Chinese literature. By exploring the inheritance and innovation of classical social novels by pioneering writers, we could find “Chinese stories”, “Chinese experiences”, and “Chinese writing styles” in traditional cultural concepts and narrative resources.