新时期中西语境交汇中的两种小说体式

【作者】 胡功胜；

【导师】 张器友； 王达敏； 唐先田； 王宗法； 王文彬； 黄书泉；

【作者基本信息】 安徽大学 ， 中国现当代文学， 2005， 硕士

【副题名】以贾平凹、余华作为个案分析

【摘要】 贾平凹、余华可以看作是中国新时期小说以一种比较的视域,向中国传统和西方现代小说观念寻找写作资源的两个代表性作家。前者侧重于对传统的认同,试图激活中国古典文学艺术的生命力,后者则是以否定和颠覆的方式对传统进行修正和完善,在叙事、语言和存在意识方面更多地接纳了西方现代小说观念。虽然两个代表性作家对中西小说观念的融合都做出了可贵的探索,对中国小说艺术的可能性和艺术的表现空间做了前所未有的拓展,但从已面世的文本看,新时期那种中西小说观念融合的时代并未真正到来,两种视域仍处于一种单元分割的状态。寻求传统与现代、民族与西方文学观念的交汇点必须有一种真正的比较思维。 基于一种传统的文化底色,贾平凹把和谐作为他的作品的基调,或者表现出对不和谐的焦虑,重建和谐的努力,而余华则是把暴力作为他对现实存在的文化观照。这两种文化观照决定了他们小说深度模式的建构方式,贾平凹是立足于传统的正向追寻,忧患,是他构建深度模式的心理底线,而余华则是颠覆一切既有的文化成规,以一种否定的方式营构他的深度模式。在叙事上,两个作家与之相应地采取各自的叙事模式,贾平凹是在对现实的实在性的认同中展开他的叙事,在人与实在的同一中进行着他的文类建构,在传统的承接和大众的期待视野中发挥出它的丰富性,它没有让觉察出一种文类上陌生性,这是一种正向的建构。与贾平凹的这种建构意识相反,余华在叙事领域做的是一种文类颠覆,作为一种对文本的阐释,我们又可以视之为反向的建构。余华的叙事观念更多地表现为对文学传统的反驳,他在文本中所做的一切似乎就是要用语言的暴力摧毁所有的惯例与准则。贾平凹在叙事上形成了他的意象化的叙事风格,余华提供给我们的则是一篇篇生存的喻言。 在对两个作家进行一番考察的基础上,本文试图就如何坚守我们的文学立场提出了几点看法:文学要关注当下,同时要有历史理性的观照;要打破传统和西方任何一个单一性文化视域的局限;在经历“怎样写”的探索后,“写什么”的问题再一次摆到我们面前,内容与形式的平衡是一个永在的问题;无论是回归传统或者借鉴西方,都是一个不断“回归”与“出走”的过程,不是一次往复就能完成的。只有具备这种真正的比较思维,中西小说观念才能真正走向融合。更多还原

【Abstract】 Jia Pingwa and Yuhua may be looked as two representative writers being after writing resources from Chinese traditions and western contemporary novel ideas using comparative viewpoint. The former lay special emphasis on identification to tradition and try to activate the life-force of Chinese classical literature and art; the latter try to correct and perfect traditions in negative and subverted way and he accept more western contemporary novel ideas in narrative, language and being feeling. Though the two writers have made a valuable searching after the integration of Chinese and western novel ideas and made a unprecedented development possibility and expression space of Chinese novel arts, but look from the existing texts, the times of the integration of Chinese and western novel ideas has not come. Each viewpoint is still in a condition of unit divided. We must have a comparative thought to seek literature idea exchanging spot of tradition and modern, nation and westBasing on a traditional culture ground, Jia Pingwa uses harmony as his works’ fundamental key or shows a anxious to disharmony and a striving to reconstruct harmony. Yuhua use violence as his culture consideration to reality existence. This two culture considerations decide their construct way to their novels’ depth mode. Jia Pingwa track down in the right direction basing on tradition and look anxiety as his psychology bottom line, but Yuhua subvert all existed cultural established practice and construct his depth mode as negative way. The two writers adopt corresponding narrative tactic. Jia Pingwa carry his literature type out of the identification of human being and reality and develop its abundance under the tradition acceptance and the mass expectable eyeshot, which is right directional construct Quite the other way, Yuhua use literature type subverting which may look it as a opposite direction construction, and his narrative idea show more retort to literature traditions. What he wants to do isto destroy all conventions and standards. Jia Pingwa forms his image narrative style, and what Yuhua provide to us is pieces of fable about existence.After a few studying for the two writers, this text tries to bring up the following points of views about how to stick to our literature standpoint. Literature must follow with interest in the moment and considerate it in historical rationality. We must break the limitation of whichever single cultural horizon. After go through exploration of how to write, the problem of what to write place in front of us again. The balance of content and form is a permanent problem. No matter return to tradition or draw on the experience from west, it is unceasing process and cannot be accomplished in once back and forth. Only when we have this true comparative thought, the ideas of Chinese and west can be integrated.更多还原