【作者】 郑琴；

【导师】 萧映；

【作者基本信息】 武汉大学 ， 写作学， 2022， 硕士

【摘要】 苏童的长篇小说《黄雀记》(2013年),既延续了其小说一贯的诗情画意的文风,且在叙事、隐喻、语言诸方面呈现出诗歌元素与诗性特征。若从诗性出发分析苏童的小说写作,有必要跳出语言本体研究的窠臼,回到诗性本身,再由此推及小说的诗性写作。本论文试图概述《黄雀记》诗性写作的具体蕴义,论述诗歌元素在小说中的呈现形式,兼论苏童的文学观念与跨文体实践。除“引言”与“结语”外,本文共有四章:第一章探讨小说的“诗性写作”的内涵。从写作学角度出发,观察诗性与写作的关系,概述小说的诗性写作:即是以诗歌的言说方式进行小说创作,使小说具备诗歌的哲思、熔铸诗歌的技法,关联诗歌的范畴。与诗化小说相比,诗性写作也认识到小说与诗歌文体互渗的可能,但二者在文学观念、写作内容以及叙事结构上多有差异,最终走向了不同的道路。第二章分析《黄雀记》的诗性叙事。在叙事空间上,《黄雀记》突破了单一化空间叙事模式,让现实与虚幻交相辉映,扩大了诗性想象的空间。在叙事视角上,苏童化用诗歌重章叠句之法,推进《黄雀记》中视角的重叠转换,为故事埋下悬念与伏笔。在人物塑造上,苏童在引出人物之前,先行讲述一些看似无关紧要的细枝末节,依稀可见诗歌的托物起兴之法。在诗性叙事的建构过程中,既有诗法的化用,亦可窥见苏童的哲思。第三章研究《黄雀记》的诗性隐喻。苏童设置了丢魂、捆绑、黄雀三个隐喻,以这三个喻体为起点,描绘了生存的困境、时代的逼仄与命运的阴影。苏童专注于喻体的勾勒,对本体仅做描绘。对每个个体来说,本体的所指不尽相同,换言之,诗性隐喻的本体,始终处于意义的生成过程之中。诗性隐喻兼涉哲思与范畴,苏童在“言—象—意”三者之间,寄寓人生命题的思考。第四章论述《黄雀记》的诗性语言。在《黄雀记》中,既可以看到话本小说韵散结合语体的影响、诗化小说重感觉的传统,还可以看到苏童先锋时期强烈的抒情风格的回归。这些文学资源与诗歌都存在一定的关联:诗歌对声韵与句式有着极高的要求;感觉是诗歌的重要构成要素;抒情促进了诗歌的发生,也是诗歌的重要功能。在对这些资源的融合之中,亦可见苏童的诗性精神与诗性智慧——他不仅吸纳既往文学的长处,而且根据创作的需要对其进行调整。在《黄雀记》的诗性叙事、诗性隐喻与诗性语言中,可以看见苏童与过往作品、文学传统及人生命题进行对话。实现了“思”与“诗”对话的《黄雀记》,由此获得了“象外之象”与“景外之景”,也具有了“韵外之致”与“味外之旨”。更多还原

【Abstract】 Su Tong’s novel Shadow of the Hunter(2013)extends the poetic flavor which has been shown in his previous novels.Besides,it also displays the elements and characteristics of poetry in its narration,metaphors,and languages.To analyze Su Tong’s fictional writing from the perspective of poetics,it is necessary to go beyond the study of language ontology,and then extrapolate the poetic writing of the novel from the essential quality of poetry.This dissertation attempts to expound on the specific meaning of poetic writing and the presentation of poetic elements in the novel and discuss Su Tong’s literature conception and cross-genre practice.In addition to the“introduction” and “conclusion”,the dissertation consists of four chapters:The first chapter explores the connotation of "poetic writing" in fiction.If we observe poetry from the perspective of the writing process,it can be found that poetry is closely related to philosophy,craft,and category.Compared with poetic novels,poetic writing also recognizes the possibility of interpenetration between fiction and poetry,but they differ in literary conception,writing contents,and narrative structure.In conclusion,the two eventually take different paths.The second chapter focuses on the poetic narrative of Shadow of the Hunter.In terms of the narrative space,Shadow of the Hunter breaks through the single mode of narrative space,which allows reality and illusion to intermingle in narration and expands the space for the poetic imagination.As for the narrative perspective,Su Tong promotes the transformation of narrative perspectives,which turns to refrains in poetry for guidance,laying suspense and ambiguities for the story.Regarding characterization,Su Tong tells some seemingly insignificant details before introducing the characters,which emulates the artistic device “Xing” of poetry.In the poetic narrative construction,we can observe Su Tong’s adaption of poetry’s craft and perceive his philosophical thinking.The third chapter studies the poetic metaphors of Shadow of the Hunter.Su Tong outlines three metaphors: the losing of souls,the binding with ropes,and the shadowing of hunters.Su Tong takes these three metaphors as the starting point to depict the plight of people,the narrowness of the era,and the shadow of destiny.Su Tong delineates the metaphors by depicting their ontology.For him,the ontology of poetic metaphors is always in the process of generating meanings.The poetic metaphors involve both poetry’s philosophy and category.Among “word”,“image” and “meaning”,Su Tong records his speculations on the propositions about life.The fourth chapter discusses the poetic language of Shadow of the Hunter.In the novel,we can see the combination of prose and verse attributed to the story-teller’s script,the emphasis on the feeling characterizing poetic novels,and the return of the intense expression of emotions which is the distinguishing feature of avant-garde fiction.These literary resources are all related to poetry to some extent: poetry has a high demand for rhyme and syntax;the feeling is the fundamental constituent of poetry;lyricism facilitates the occurrence of poetry and acts as the important function of poetry.Besides,Su Tong manifests his poetic spirit and poetic wisdom in the fusion of these literature resources.He adjusts these resources according to the needs of creation rather than directly absorbing the good qualities of the previous literature.In the poetic narrative,metaphors,and languages of Shadow of the Hunter,we can see Su Tong’s dialogue with past works,literary traditions,and life propositions.In Shadow of the Hunter,Su Tong effectuates the dialogue between "thought" and"poetry",which makes the novel acquire "an image outside of an image" and "a scene outside of a scene,and obtain "a rhyme beyond the rhyme" and "a taste beyond the taste".更多还原