【作者】 许端；

【导师】 胡亚敏；

【作者基本信息】 华中师范大学 ， 比较文学与世界文学， 2005， 硕士

【摘要】 在中国现代文坛上,凌叔华是一位创作数量不多,但却明智地依凭自己的阅历、特长进行创作的小说家。她的小说既体现出“温婉淡雅”的风格,又具有批判的内涵,这些已被研究者注意。但过去将二者割裂开来分别探讨,并不足以把握凌叔华小说的复杂性。鉴于此,本文从凌叔华小说极具个人特色的“以画入文”入手,分析其小说风格与意义的内在关联,试图更深入地把握作家思想和艺术的精髓。 首先,凌叔华在小说创作中借鉴了中国传统绘画的诸多因素。她以情节的淡化和情感的节制追求空白简洁,通过写意抒情的笔法达到了借物写心、冲淡平和的效果。其次,凌叔华小说与绘画的深层交错在作家的创作动因及文画交融的时空悖论上。从创作的动因上看,凌叔华以画笔融入小说的抒情姿态源于她对现实和对主流文学的双重批判。同时,面对文画交融的时空悖论,凌叔华并没有抹平时间与空间、写实与抒情之间的冲突,而是赋予它们以辩证的色彩。接下来,本文从“时间”和“反讽”两方面对此做了具体分析。最后,本文阐述了凌叔华小说“以画入文”的独特价值:一方面,她以画笔融入小说,发展了中国现代小说中的意境美,体现了向传统审美的回归;另一方面,她“以画入文”,在抒情性、结构与时间上实现了对现代小说文体的进一步拓展。 凌叔华的“以画入文”不仅是一种技法上的借鉴,更是一种精神上的追求,它丰富了小说的内涵,使之具有跨越时空的艺术魅力。通过对凌叔华的小说与绘画关系的透析,更能品味作家独特的创作个性和艺术价值:她立足于传统与现代之间,既具有现代思维的批判意识,又肯定传统精神在当时的意义。在小说中,凌叔华思想的锋芒被包容在传统审美的形式里,她的作品具有独特的艺术魅力。更多还原

【Abstract】 In China’s modern literature circle, Ling Shuhua was a wise writer who wrote novels within her own experience and dominance in literature, though her works don’t look prominent in number. We can find an obvious "gentle & graceful" style and critical intention in Ling’s novels. As a matter of fact, many scholars have already taken notice of this, but their focus is often on one side of the coin. However, it does not help too much to grasp the complexity of Ling’s work. As long as this is concerned, the thesis discusses on intrinsic relationship of her individual characteristic with drawing skill between the lines for more quintessence of Ling’s thought and arts.Firstly, there are so many elements of traditional Chinese painting in Ling Shuhua’s novels. Blankness and terseness reflected in the novels are the character of the author’s simplified plot and restrained feelings, and the enjoyable writing makes her novels gentle. Secondly, the inner connections between Ling’s novels and painting art are based on her creative motivation and absurdity between time and space. The author’s attempt of putting painting skill into novels shows a dual criticism both on the reality and the mainstream literature. Furthermore, she does not cross off the conflict between time and space, or realism and lyricism, but gives them ambiguous significance. This thesis tries to analyze the above from the two main points: time and irony. Lastly, this article expounds the particular value of the novels’ characteristic with painting techniques. On one side, Ling’s attempt of putting painting skill into novels expands Chinese modern novels’ aesthetic feeling of artistic conception, and it also incarnates regression of traditional aesthetic slant; on the other side, Ling’s novels’ characteristic with painting techniques achieves farther extension for style of modern novels at aspects such as lyricism, structure and time.Ling’s writing with painting techniques is not only a use of reference, but also更多还原