CAJ | 학술논문

20世纪50-70年代，少数民族小说对主流文化的一体化认同中，往往内含了一种自我认同。这既因为民族作家自我的文学观与当时主流的文学观之间存在裂缝，又因为民族作家坚持从自我生活出发的创作实践与当时从政治出发的主流文学观念之间存在冲突，更因为民族作家的双重文化背景存在的内在矛盾。这为今天的民族小说留下了诸多值得反思的问题，当今的民族文化建设也能从中获得诸多启发。
20세기50-70년대，소수민족소설대주류문화적일체화인동중，왕왕내함료일충자아인동。저기인위민족작가자아적문학관여당시주류적문학관지간존재렬봉，우인위민족작가견지종자아생활출발적창작실천여당시종정치출발적주류문학관념지간존재충돌，경인위민족작가적쌍중문화배경존재적내재모순。저위금천적민족소설류하료제다치득반사적문제，당금적민족문화건설야능종중획득제다계발。
In the 1950-70s, the minority novels＇ integrative identity of the mainstream culture often contains a hidden self-identity. The reason for this phenomenon lies in three aspects： the gap between the ethnic writers＇ own literary concepts and the contemporary mainstream literary view, the conflict between the writer＇s persist- ence of composing from his/her own life and the predominant literary concept out of political need, and the inner contradiction of the minority writers＇ double cultural backgrounds. This leaves many issues worthy of reflecting. Today＇s culture construction can also gain a lot of inspiration from this.