节点文献
在现实与理想间探寻自我
【作者】 李琦;
【导师】 杨辉;
【作者基本信息】 陕西师范大学 , 中国现当代文学, 2021, 硕士
【副题名】论王朔的小说创作
【摘要】 作为八九十年代最具争议的作家之一,王朔的作品在被广泛阅读和讨论的同时也遭遇了异常的“忽视”与“压抑”。作为现象的王朔的巨大身影在某种程度上遮蔽了作为作家、小说家的王朔。在“痞子作家”等固化的标签之外,王朔个人的写作道路自有其内在的问题意识与演进逻辑,即一种由隐到显,由不自觉到自觉的对真实自我的探寻。本文尝试勾勒这一内在逻辑,以正文三章分别对应王朔迄今为止的三个创作阶段,呈现其在不同阶段的人生主题、生命困惑中自我问询的方式与结果,捕捉其在现实自我和理想自我、社会自我和本真自我间徘徊挣扎的痕迹。同时,经由这一核心命题的揭示,解释王朔“自我纪实”的写作观与散文化、主观化的文体形式的形成与发展。第一章“角色摸索:浪荡青年的言情戏谑”着眼于王朔从80年代中期到90年代初期的代表作品“言情系列”和“顽主系列”。从其带有功利色彩的写作动机出发解释其此期创作对外部评价标准和通俗小说模式的依赖,进而探测其在婚恋小说、讽刺小说的外在主题与情节模式下无意识显露的不和谐的精神底色——无法在时代变动中确立自身位置的边缘者的迷茫和焦虑。这一问题对应的是青年一代的参与性危机,折射出青年一代与自我、社会相处的问题,这是王朔在青年群体中大受欢迎的原因,也是其此期作品的价值所在。但王朔在这一阶段对这一问题并未形成自觉思考,因而未能进行严肃的挖掘与严谨的表现。功利化的写作动机与无意识流露的真实困惑造成了作品内部的割裂,也导致了他徘徊于通俗与严肃之间的尴尬处境。第二章“代际寻根:大院子弟的成长回忆”着眼于王朔在九十年代初期及末期的回忆性成长书写,即以部队大院成长经历为题材的《玩的就是心跳》《动物凶猛》《许爷》《看上去很美》等小说。在这些小说中王朔显露了自觉的“自我寻根”意愿,从部队大院这一生长空间和与之密切关联的“红小兵”的代际、群体经验入手,探寻自我及同辈“妄想主义”人格特质的由来是他这一阶段自我探寻的主要方式和潜在主题。与写作题材、主题的变化相对应,王朔形成一种主张如其所是地还原生活、抵抗虚构与小说规则的写作观,落实在文体上,表现为情节的淡化,结构的散漫,重视感性印象的描摹。第三章“问询本源:北京老王的私语妄想”着眼于王朔新世纪再度复出后发表的四部作品《致女儿书》《和我们的女儿谈话》《我的千岁寒》和《新狂人日记》。现实中亲友的接连亡故促使王朔对一向回避的家庭问题及其带来的创伤性亲情体验进行重新发现与体认,进而触发对自身的亲情观、自私型人格的痛切反思以及一种挣脱情感羁绊,回归佛家所说清净无碍之本真自我的渴望。与主题的内缩、题材的私密化相应,他这一阶段的文体更趋散漫、主观、混杂,甚至出现“自动写作”式的“呓语狂言”。这些文本难以进行一般的文本解读,而是如“病理报告”般赤裸地展现了创作主体困惑丛生、矛盾遍布的精神世界。
【Abstract】 Wangshuo is a highly controversial writer in the field of contemporary Chinese literature.He and his works attracted much attention and became a representative case to cut into many important problems in the period of transition.However,because of this,he and his works fall into another state of ignored.In fact,Wang Shuo’s writing has its own inherent theme that is the Self-exploration from outside to inside.I try to outline this internal clue,to explore the ways and results of his self-discovery in different life confusions,and to capture his traces of struggle between the actual self and the ideal self,the social self and the real self.At the same time,I try to explain the formation and development of his "self-documentary" view of writing and subjective narration.The first chapter focuses on Wang Shuo’s early representative works "Romance Series" and "The troubleshooters Series".In this period,because of his utilitarian motivation of writing,he relied more on the external valuation criteria and absorbed the modes of popular nolves.My goal is to explore the inharmonious background color under the external modes of his satire and romance fictions.That is the confusion of marginal figures who cannot find their position in the changing times,which reflects the problem of younger generation to get along with themselves and with the society.This is the reason why Wang Shuo is so popular among the youth groups,and it is also the value of his works in this period.However,Wang Shuo did not consciously think about this issue at this stage,so he failed to realize a serious exploration and a rigorous expression of this theme.The utilitarian writing motivation and the real confusion resulted in an inner separation of his works,and also led him to linger between popular literature and serious literature.The second chapter focuses on Wang Shuo’s growth memory writing in 1990s.In these novels,Wang Shuo had the awareness of seeking the roots of himself.He explored the conflicting personality of himself and his peers based on the growth experience as the little red guards in the army courtyard.Corresponding to the change in theme,Wang Shuo formed a "self-documentary" view of writing.He advocatesd restoring life as it is,resisting fiction and refusing the rules of novels.Stylistically,it was presented as the weakening of plots,the loose structure,and the colorful perceptual impressions.The third chapter focuses on Wang Shuo’s four works published after he comeback in the new century.The successive deaths of relatives and friends in reality prompted him to rediscover the family problems and the emotional traumas that he avoided formerly,and triggered a painful reflection on his egoism.As a result,he wanted to break away from emotional bonds and to return to his pure nature with the help of Buddhist thoughts.Corresponding to the privateness of the theme,his style at this stage has become more subjective and mixed.These texts are difficult to carry out general interpretations,but like pathological reports which nakedly show the confusions and contradictions in his spiritual world.