论新时期小说的戏仿艺术

【作者】 张悠哲；

【导师】 黄善明；

【作者基本信息】 扬州大学 ， 现当代文学， 2008， 硕士

【摘要】 作为一种叙事方法,“戏仿”(Parody)原指小说家在写作(叙述)过程中通过有意识地模仿他人的文体风格而形成一种新的小说文本的做法,即通过有意识地模仿一个小说文本的内容、形式特征,包括人物、故事、情节和语言风格等方面,并将其运用到不适宜甚至相反的语境中,以达到对模仿对象的曲解、嘲讽和颠覆。本文按照中国新时期戏仿小说文本的总体规模确定三个戏仿类型,即:人物性戏仿,故事性戏仿(包括题材、情节、结构等)与文体性戏仿。诸多以先锋姿态崛起于新时期中国文坛的小说家对“戏仿”叙事推崇备至并乐此不疲,即如余华、苏童、莫言、格非、刘震云、王蒙、王朔、王小波、毕飞宇、叶兆言、徐坤、王安忆、李冯、须兰、北村、东西等,“戏仿”叙事在他们的个人创作历程中划出了鲜明的标记。中国古典文论中并无“戏仿”这一概念,但将戏仿作为一种创作手法的运用,在古典诗文中不乏例证。从中国现代小说的发展渊源来看,现代小说家对戏仿的运用始于鲁迅的《故事新编》。“五四”小说家中,女作家凌叔华对“闺怨”题材的戏仿,显示了她特有的文学才情。30年代中国文坛,海派名家施蛰存借鉴精神分析理论话语,大胆“重写”(改写)历史人物与故事,推出了一批戏仿小说。40年代以后降至70年代末,随着文学环境变迁,戏仿叙事渐渐退出小说家的创作视野,小说家陈翔鹤之死,“验证”了戏仿作为一种具有极度颠覆性与解构性的叙事方法在高度一体化的政治文化体制下走向消亡的必然命运。新时期小说家们拆毁真实性、典型性与倾向性等新文学成规,把戏仿叙事推向了一个“创作规范”的高度。从新时期戏仿小说的故事内容及其价值尺度上来看,戏仿叙事的文学价值是唯一的,即在于:以一种激进的、然而却是行之有效的手段扩张了小说文本的“寓言”(互文)功能。对于新时期小说家而言,戏仿的叙事策略,意味着一种全新的小说创作(叙事)方法,它是虚构、互文和隐喻的一次历史性合谋。新时期戏仿叙事呈现出“集束化”态势。余华、莫言、王蒙等人的戏仿小说,其“开创”意义是空前的。90年代以后,戏仿叙事“蔚然成风”,成为一种新的写作态势和文本操作方式。新历史主义小说将戏仿的对象指向了现代“正史”。小说家们对于历史的“重写”,使得历史在现实之中的传统意义遭到动摇。作为新时期文学的“后来者”,九十年代崛起于文坛的一批“晚生代”作家对戏仿情有独钟。他们的戏仿策略与规模,堪与“前辈”看齐。在戏仿叙事推向高潮的时候,也显露了衰落的征兆:戏仿叙事开始走向闹剧化、游戏化,失去了思想批判的方向。当前盛行的“恶搞”艺术,即是戏仿叙事走向蜕变的症候之一。在戏仿叙事的实际操作过程中,各种戏仿性叙述行为,总是互相交叉、互为支撑,以一种“复合”形式出现。戏仿经历了由最初带有“探索”、“实验”的动机到后来娴熟、自如的广泛运用,这一过程与新时期小说家们反讽意识的萌发和自觉相联系。新时期众多的戏仿小说文本与形态各别的戏仿手段,体现了“文体革命”的高度,标明了戏仿叙事本身鲜明的艺术“自律”/“自觉”倾向。戏仿在文学思维层面上表现出了一种求异的特性,它试图拆解确切的或者不确切的文本的本意,并填充或赋予原文本新的文体内涵。小说家们表现出解构的勇气往往高过建构的热情,使得“破”总大于“立”。戏仿的出现涉及到新时期文学一切核心命题,即如题材问题、创作方法问题、内容与形式问题、真实性与倾向性问题等等,这些问题归根结底变为一个小说家们需要面对的现实问题:小说该“怎样写”的问题。当代小说中大量存在的戏仿提醒我们,小说的创作过程确乎存在着那种“影响的焦虑”(the anxiety of influence),戏仿正是在前代作家“影响的焦虑”下产生的一种“误读”手段。人物戏仿、故事戏仿还有语言戏仿,不同类型的相互重叠和交叉会在实际的文学创作中产生更多的意义冲突或是增殖。作为新时期小说的“另类写作”,戏仿的显著特征就是在精神血脉上割断了与传统文化谱系的联系,在颠覆经典文论的同时重建小说创作的艺术规范,如果说初登文坛的戏仿之作是消解权威、解构历史的反常化叙事,那么到了戏仿发展蔚然成风的时候,戏仿所表现出来的强烈的互文性和游戏性就凸现出来。戏仿小说的文体缺憾:戏仿文本是原文本的“文本寄生物”,离开了戏仿对象,戏仿变成为空谈;语言的无限膨胀导致了语言本身的缺失;戏仿在消解历史消解现实的过程中,也把文学的责任感、使命感和人文关怀一步步消解掉了;历史的平面化、经典的庸俗化、人物的符号化、语言的肆意化,戏仿的这种消解和拆毁犹如一把双刃剑,在带来叙事解放的同时,也将自己的精神内核破坏掉了。艺术思维层面的缺憾:戏仿文本呈现出主体性的退化和萎缩。主体性的消退一方面表现为主体的无意义化和随之而来的人物形象的符号化,另一方表现为主体陷入虚无并且毫无能动意识的境地。更多还原

【Abstract】 As a narrative method,“parody”original refers to the novelist who is in writing consciously imitate the style of others and formed a new version of the novel, that is the novelist use a conscious imitation of the novel’s content, form features, including characters, story, plot and language style etc, they were applied in the inappropriate or even in the contrary context, so as to twist, satirize and subvert the imitation target. Many literary novelist respected“parody”with a pioneer attitude in China New Era, for example, Yu Hua, Su Tong, Mo Yan, Ge Fei, Liu Zhengyun, Wang Meng, Wang Shuo, Wang Xiaobo, Bi Feiyu, Ye Zhaoyan, Xu Kun, Wang Anyi, Li Feng, Xu Lan, Bei Cun, Dong Xi etc. "Parody" has an obvious markings in the narrative of their personal creative process.Chinese classical literary theory didn’t have the conception of parody, but there were many examples to show that“parody”often be used in classical poetry and article. From the perspective of the original development of modern Chinese novel, modern novelist started to use“parody”began with Lu Xun’s "New Stories". In the May 4th Novelists, the women Writer Lin Shuhua used“parody”to complain about the boring boudoir life, this shows her unique literary talent and emotion. In 1930’of Chinese literary scene, one of the Shang Hai Shool’s famous writer Shi Zhecun who use the spirit of doctrine to rewrite the historical figures and stories and to create a group of parody novel. From the 1940s to the late 1970s, as the literature environmental was changing, parody narrating gradually disappeared in literature vision. The death of Chen Xianghe prove that parody which was a extreme subversive and deconstruction narrative method inevitably demise of fate in the political culture of highly integrated system.The New Era novelist dismantled the truth, the typification and the tendency of literature norms, and they also improved the parody narration to a high level. From the perspective of New Era parody novel’s content and its value scale, the literary value of parody narrating is the only, that is parody use a radical, but an effective means to expand the“fable" function of the novel. For the New Era novelist, parody means a brand-new narrative method in novel, it is historic compose with fiction, intertextuality and metaphor. The New Era parody narrating was showing an "intensive" situation. Mo Yan, Yu Hua, Wang Meng who‘s parody novels, created a unprecedented significance. Parody narrating was popular after the 1990s, and it became a new trend of writing and text mode of operation. The new historicism novels point the object of parody at the modern "official history." The history in the traditional sense of reality was shaken by the novelists who rewrite the history. As a successor in the New Era, a group of "later generation" writers likes to use parody in the 1990s. Their parody strategy and scale was as large as their seniors’. When parody development to a climax, it also shows the signs of decline: parody began to be a farce or a game, it also lost the way to ideological criticism. The current prevalence of "practical jokes", which was one of the symptoms that parody narration, went to decline.In the process of parody narration, parody of various descriptions always cross each other and support each other in a "complex" form. Parody on use experienced from the initial "explore" and "experiment" to the later skill, ease of use, this process and the New Era novelist sense of irony to the germination and consciously link. Many of the New Era parody of the novel form of text and other means of parody reflects the "cultural revolution" high, indicating a parody of narrative art itself clear "self-discipline" / "consciously" tendency.Parody in the literary level of thinking demonstrated the characteristics of a seeking difference, it seeks to dismantling or the exact text of the purported inaccurate, and filled or a new style to the original meaning. Novelist who show the courage often higher than the construction of enthusiasm, making the "broken" over the "construction".Parody of a New Era literature related to the core proposition of all, that is, the subject matter issues, creative methods, content and form, authenticity and tendentious issues and so on. Ultimately these issues become novelists who need to face the reality of the problem:“how to write”the novel. There are a lot of contemporary fiction in the parody reminds us, novels creative process that do exist "the anxiety of influence". Parody is a "misreading" means which produced by the generation writers’"the anxiety of influence”. People parody, the story of parody is also available in language parody, different types of duplication and overlapping each other in the actual literature in a more meaningful conflict or proliferation.As a New Era "alternative writing," parody has a significant feature in the spirit of blood and severed the ties of traditional culture pedigree, subversion of the classic text of the redevelopment of the arts novels norms, If the early literary parody of the authority for the digestion, the deconstruction of the narrative history of abnormal, to parody the development of common practice, parody demonstrated by the strong interoperability, and on the highlights of the game out.Parody’s novel style deficiency: parody of the original text is the "text parasite" and left the targets of parody, parody become an empty talk. The unlimited expansion of language led to the deletion of language itself; parody reality in the digestion of history in the process of digestion, but also the literary sense of responsibility and mission, and humanistic care step by step down digestion; history of the plane, the classic vulgarization, the symbol of the characters, language and wanton and parody of this resolution and the demolition of like a double-edged sword, bringing in the narrative of liberation, but also to their spiritual core destroyed by the enemy.Art level deficiency: parody showing a main text of the degradation and decline. On the one hand, the main performance of the dissipated as the main body of meaningless characters and the attendant image of the symbol, the other for the main performance into nothingness and no sense of the dynamic situation.更多还原