乡土家族的错位继承与救赎之旅

【作者】 刘蓉；

【导师】 王荣；

【作者基本信息】 陕西师范大学 ， 中国现当代文学， 2017， 硕士

【摘要】 二十世纪的家族描写一直呈现承续状态,同时,对家族的或批判或改造或赞颂都与二十世纪中国的历史密切相关,家族抒写承载着对乡土中国百年历程的再现。新文学伊始,在启蒙的话语之下,传统家族作为封建的堡垒遭到猛烈地抨击;三四十年代,乡土破产后革命话语侵袭下的家族叙述;十七年的文学在政治纲领指导下的家族写作;新时期反思文学、寻根文学中大量的乡土文本中不乏对于传统家族的追思;九十年代以来家族叙事进入宏大的历史叙事范畴,乡土家族作为用以抵御现代化的侵袭的珍贵资源而重新取得抒写意义。二十世纪的中国历史风云变幻,新时期以来,尤其是九十年代左右的乡土小说呈现出与以往不同的面貌,同时小说文本也呈现出相近的写作模式,张炜的《古船》和陈忠实的《白鹿原》作为新时期家族历史书写的典型文本,在小说的行文上具有相似性。因此,笔者以此为基础,探究新时期宏大历史叙事下家族书写的历史共性以及各自文本展现出的个性特征,同时探究新时期家族书写所呈现出的新乡土家族所存在的同质性的问题及其产生的原因。论文第一章主要梳理家族母题的历史沿革,从整体上论述家族书写的范式。并以《古船》和《白鹿原》为具体文本,探究其家族建构,展现新时期家族书写的转向即在美学建构上对于传统家族文化的内在历史自信,同时探究作者的历史自信与行文上的矛盾,以此展现作者对于家族文化的困惑。第二章重点探究转型期乡土家族作为社会基层组织而存在的复杂性,即家族权利在承续中的旁落,质言之,发现转型期新的革命基层政权和族权的较量、融合,以及产生的历史性悖谬:伪革命者成为革命的最大受益者,并进一步进行原因探究。第三章承续第二章展现的家族继承的旁落,进而寻找家族的合理继承者,《古船》中的隋抱朴,《白鹿原》中的白嘉轩,探究其作为相同的家族拯救者形象却在文本中展现出不同的叙述模式而最终能够殊途同归的原因。进而探究家族的归向问题。更多还原

【Abstract】 Family description of the twentieth century has been showing inherited status,simultaneously,for family or criticism or praise or alteration are closely related to the history of twentieth-century China,writing the family carry the reproduction of the centennial of the native China.At the beginning of the new literary period,Under the Enlightenment,the traditional family as a feudal fort was criticized severely,thirties and forties,the Family Narrative under the Invasion of Revolutionary Discourse;after the founding of the seventeen years,family Writing under the Guidance of Political Program;during the new period,reflection of literature,root literature in a large number of local text there is no lack of memorial for the traditional family;since the nineties the family narrative has entered the grand historical narrative category,the native family is reinterpreted as a valuable resource to resist the invasion of modernization.Chinese History in the 20th Century is volatile,since the New Period,Especially in the nineties or so local novels show a different face with the past,Novels also exhibit similar patterns of writing,as a typical text of the family history of the new period,Zhang Wei’s "Ancient Ship" and Chen Zhongshi’s "White Deer" has similarity in writing.Therefore,on this basis the author explores the historical commonality of the family writing under the grand historical narrative of the new period and the individual characteristics,and explores the homogeneity problems of the new native family and the causes of the emergence in the new family writing.The first chapter of the paper combs the historical evolution of the family motif,and discusses the paradigm of family writing as a whole.And the "ancient ship" and"white deer original" as the specific text,to explore its family structure,to show the new era of family writing to the aesthetic construction of the traditional family culture for the inner history of self-confidence,while exploring the author’s history of self-Contradictions,in order to show the author of the family culture of confusion。The second chapter focuses on the complexity of the local family as a social grassroots organization in the transition period,that is,the struggle of the family rights in the inheritance,the discovery of the new revolutionary grassroots political power and the tribal struggle,The historical paradox:the fake revolutionist became the greatest beneficiary of the revolution and further explored the cause.The third chapter continues to show the family inheritance of the second chapter,and then find a reasonable successor to the family,Sui Baopu in the "ancient ship",Bai Jiaxuan in the "White Deer",to explore the reason which the image as the same family rescuer in the text show a different narrative model but can eventually be the same.And then explore the family’s homing problem.更多还原