【作者】 张向辉；

【导师】 曹惠民；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2009， 博士

【摘要】 作为当代海峡两岸颇有影响的实力派作家,王安忆和朱天文朱天心姐妹在家庭背景、个人经历及创作上有很多相似的倾向,也各有一己的风貌,无疑具有可比性。本论文在对她们各自文本细读的基础上,以“守护·逃离·追寻”为主线,以“家族”、“成长”、“性别”、“都市”为切入点,对她们作品中具有相似主题倾向的部分进行比较,同时进一步挖掘在相似主题之下由于两岸社会、文化、政治的差异给文学创作带来的异质性,以发掘其文本背后所蕴涵的历史、文化、人性内涵,试图为两岸文学作家的创作和文学评论提供一个新的参考视角。论文由家族书写、成长书写、性别书写、都市书写四部分组成。家族书写部分:主要考察父女两代对“原乡”的追寻。王安忆和朱氏姐妹把父辈放在特定的革命战争年代,通过他们对实际存在的地理意义上的“原乡”——祖国大陆的追寻,流露出父辈在追寻过程中所体会到的被放逐意识,以个体在历史中的遭遇来折射国共两党的恩怨纠葛。王安忆的插队经历和朱氏姐妹的“眷村”经历,成为她们创作的“原点”反复出现,而插队时的农村和曾居住过的“眷村”就是她们心中的“原乡”。她们对“原乡”的情感也经历了最初的逃离到最终的回归,看似简单的离开—归来模式却传达出作家对社会转型期过度都市化的厌倦和对乡村文明的眷恋。王安忆侧重从历史的、政治的角度进行宏大叙事,朱氏更倾向于从日常的、情感的角度进行人性观照。成长书写部分:把王安忆和朱氏姐妹创作中有关成长的作品分为三个特殊的时期:青春的成长,中年场域的衰老,和关于死亡的哲思。其间充满了与时间角力的意味。青春期的成长故事中关注男女成长之别,男性侧重于通过与社会的冲突(常常由偶发事件引起出走),同女性的交往来获得自己的社会身份和性别身份,达到融入成人世界的目的。女性成长故事特别注重“姐妹情谊”在女性意识觉醒上所起的重要作用,传达出独特的女性体验。已进入中年场域的王安忆和朱氏姐妹通过创作的“老灵魂”系列来反思她们对年龄的困惑,来表达她们对当下的迷惘。这里的“老灵魂”并不是指实际生理年龄的衰老,而是心理的衰老。表面是书写历史,其实是反映当下。貌似讥讽老灵魂的迂腐,实际是表达对现实的感慨。无论对个体还是历史都具有深刻的反思意味。王安忆和朱氏姐妹在书写中都具有强烈的时间意识,她们以书写来抗拒时间,传达出文学独特的审美性。王安忆的成长小说偏重于人物与外界环境的张力,朱氏姐妹更倾向于人物的自省意识。性别书写部分:通过对都市中女性生存状态的揭示来彰显其女性意识。论文并不刻意强调她们书写中的女性意识,而是把作家对女性命运的关注放在人性的高度去考察,以此见出“逃逸和幽闭”是女性生存的悲剧性命运。同时,对女性在日常生活中所表现出的坚韧的“力”的美予以肯定,强化其宽容和包容的“地母精神”,而这种肯定又通过对放弃自己性别身份的男同性恋者“荒人”形象来反衬。王安忆偏重于传统语境下的书写,而朱氏则倾向于后现代式的“拼贴”。都市书写部分:作家们以悲悯的情怀来关注都市,关注都市重建和改建中被毁坏的自然生态和人文生态,被异化的新新人类,从而指出隔断了历史和文化重建的都市不过是建在废墟中的废墟。而面对都市的颓废,王安忆试图通过对民间人性的淬炼来获取都市精神的审美提升,朱氏则通过异国他乡的漫游来宣泄自己的绝望。王安忆偏重温婉的提醒,朱氏则充满急切的质问。更多还原

【Abstract】 As two veritably influential writers across the Taiwan Strait, Wang Anyi and the Zhu sisters (Zhu Tianwen and Zhu Tianyi) deserve an intensive comparative study both for their respective distinctiveness, and for their similar family background, personal experiences, and stylistic idiosyncrasy in writing.Based on close study of their canons and following the seminal literary themes of“adherence, escapism, quest”, this paper focuses on the four major thrusts of“family, maturity, gender, city”, and compares the constituent parts in their writings that share similar themes, trying to research into the differences under similar themes that are brought forth by the discrepancies in society, culture and political regime across the Taiwan Strait. The aim of it points to the disclosing of historical, cultural and human significance hidden behind different texts, and thereby providing a new perspective for writers and critics across the Taiwan Strait.The paper consists of four parts: family writing, maturity writing, gender writing, and city writing.Family writing reveals two generations’quest for“hometown”. Setting their fictional father generation in the purposely-chosen revolution period, Wang Anyi and the Zhu sisters unfold the generation’s complex of expatriation awareness through their obsessive quest of the really-existing hometown---the Mainland. And individuals personal vicissitudes also reflect the perplexities between the Chinese Communist party and Guomindang Party. Wang Anyi’s memory about her“expatriation in the countryside”and the Zhu sisters’experience in the“army dependent villa”turn out to be the central point showing up over and over again in their writings, and these places are really the“archetypal hometown”in their perception. Their attitude towards hometown switches from escapism to regress, which seems to be a very simple mode of“leave and return”but betrays the authors’tiredness with over urbanization in times of social transformation, and their attachment with rural civilization, only that Wang prefers macrocosmic narration from the perspective of politics and history, while the Zhu sisters tend to display their human tenderness in everyday life.Maturity writing in these writers consists of three specific phases: youthhood development, adulthood aging, and philosophical perceptions with death, partaking of vigorous wrestling with time. Youthhood development emphasizes on the differences between growth of male and female. Males tend to win social status and sexual identity through conflict with society and contacts with female, hereby growing into the adult world. Female Bildungsroman, highlighting the role of sisterhood in awakening female consciousness, proves to be special female experience. To Wang Anyi and the Zhu sisters who are already in their prime adulthood, the depiction of“old soul”really betrays their frustration with age, and perplexities with the present age.“The old soul”in adults does not point to the real physical dotage, but mental caducity. It turns out it is not history that is being written, but the present that is being lamented. Time consciousness is deeply felt in all these writers’works, and writings are made to oppose the edging effect of time, thus reflecting the unique aestheticism of literature. Wang focuses more on the tension of characters and outside environment, while the Zhu sisters emphasize on the characters’self-introspection.Gender writing displays female consciousness through the living conditions of city women. The paper does not underline their gender awareness in their canons, but try to study the writers’concern with the females’fate on the plane of humanity, unfolding hereby that“escapism and seclusion”are their tragic fate. Meanwhile, the paper affirms the“toughness”seen in women in everyday life, and highlights“the earth mother spirit”of endurance and comprehensiveness, which finds expression in the gay image of“wastelander”. Wang prefers writing under traditional context, while the Zhu sisters postmodernist“integration”.City writing discloses their wasteland awareness latent in their works in light of“wasteland theory”. Writers sympathize with cities, and are concerned with the damaged natural and artificial spectacles in cities, as well as the alienated“new people”, concluding that the reconstructed cities cut off from history and culture are merely wasteland built on wasteland. In face of city wasteland, the writers attempt to aesthetically sublimate city spirit through tempering mass humanity. Wang prefers gentle reminding, and the Zhu sisters earnest justification.更多还原