试论90年代以来乡村小说的混沌叙事

【作者】 茹英；

【导师】 李凌泽；

【作者基本信息】 陕西师范大学 ， 中国现当代文学， 2009， 硕士

【摘要】 90年代以来,无论是中国还是世界的政治、经济、文化格局都发生着日新月异的变化,在前现代、现代、后现代以及市场经济、消费主义大肆弥漫的时期,中国乡村小说的创作也呈现出前所未有的繁荣局面。不仅前辈的乡土小说作家不断有新的突破,同时又涌现出一批年轻的新锐作家,这使得上世纪末以来的乡村小说无论是在题材、叙事方式、情节结构、叙事话语方面,还是在审美取向、主题表达等方面都呈现出前所未有的丰富性和多样性。本文从乡村小说的叙事特点入手,运用叙事学的相关理论,试图从叙事话语和叙事结构两个大的方面来分析90年代以来乡村小说的叙事转型,并且用“混沌叙事”来概括这一时期乡村小说的叙事特点。本文不再高屋建瓴式地对乡土小说的叙事特点做出具体而全面的归纳,而是从小处着手,仅从具体的文本中提炼出“混沌叙事”这一特点,并对其展开论述。论文以中国乡土小说的发展贯穿始终,选取具有代表性的作家作品进行文本分析,主要以贾平凹、莫言、阎连科和杨争光的相关作品为例,采用文本细读和理论阐释相结合的研究方法,从而探究这一叙事特点的具体表现和形成原因。这一研究对于我们把握当代乡土文学,甚至中国文学的发展方向,思考中国文学向何处去的问题将有重要借鉴意义。全文分为以下几个部分:第一章叙事话语:个人化的狂欢从话语方面分析,与五四的启蒙批判话语和浪漫抒情话语以及讲话以来的革命政治话语对比,说明90年代以来乡村小说叙事话语的个人化、狂欢化倾向。写作完全成为作家的自由发挥,语言摆脱了来自现实政治、文化等方面的束缚,呈现出完全的自由状态。作家们从民间文化和现代主义手法中汲取资源,实践着对当代乡村话语的改造。并且通过具体文本细读重点分析作家话语、人物话语和叙事者话语三者的特点和相互关系,正是由于这三者关系的新变化才导致了话语的混沌性特征。第二章叙事结构:虚构的想象之林借用当代符号学家艾柯的表述,他把文学文本看作一片丛林,如何穿越这片丛林依赖于作家的叙事方式和读者的阅读期待。本部分仍然是在与90年代以前的乡村小说的对比中来展开,说明90年代以来的乡村小说叙事结构多表现为线索的不明晰、情节的荒诞非理性以及审丑化的审美取向。这样的叙事结构将当代乡村的人、物、事混沌一团地展示给读者,失去了传统乡土小说的明朗和清晰的色调,并进一步造成了叙事主题的混沌性,凸显了“无名”时代的创作特点。结语除了贾平凹、莫言、阎连科等一批在当代文坛成就斐然的作家外,90年代以来成长起来的所谓新生代作家中也有相当一批优秀的乡村作家,他们的小说文本在叙事话语、叙事结构方面也有着同样的实验和探索,以鬼子、东西、艾伟为代表。通过中青两代作家的乡村叙事我们不难看出,乡村小说的混沌叙事一方面使文学更加走向自身,抛开了意识形态的束缚和羁绊,但同时又过多地强调了技术性的操作,远离了“文学是人学”这一主题,乡村小说最初的“地方色彩”和“风俗画面”也日渐模糊。作为知识分子的作家,不应放弃人文关怀和启蒙批判的历史使命,如何将二者协调起来,既不过分为文学套上意识形态的枷锁,又能充分发挥文学的想象功能,以一种自在的状态来写作,这有待于今后的文学创作实践进一步探索。更多还原

【Abstract】 Since 1990s, whether it is China or the world’s political, economic and cultural patterns are rapidly changing. During the pre-modern, modern, post-modern and the market economy, consumerism diffuse much of the period. Chinese native novels are also showing a situation of unprecedented prosperity. Not only the older generation of rural novels writers who have made new breakthroughs, but also the emergence of a group of young cutting-edge writers. This makes up the native novels since1990s, whether in theme, narrative, plot structure, narrative discourse, or in the aesthetic orientation, the expression of subject areas have emerged an unprecedented richness and diversity.This article begin with the rural characteristics of the novel narrative approach, using some relevant narrative theories, trying to do research in narrative discourse and narrative structure to analyze the narrative transformation of the native novels since 1990s. The "chaos narration" can be summed up this period of the narrative characteristics of Chinese native novels. This article is no longer strategically situated on the native style of the narrative characteristics of the novel made into concrete and comprehensive, but start with small questions—only specific text extracted from "chaos narrative" and explain it. The development of Chinese native novels will throughout the thesis and select representative writers’ works for text analysis, such as Jia Pingwa, Mo Yan, Yan Lianke,Yang Zhengguang and so on. Combine the text read and theories explaination, in order to explore the specific characteristics and the reasons of the formation. It is important for us to study the contemporary native literature, and even the development direction of Chinese literature.Ⅰ.Narrative Discourse: Personalized carnivalFrom discourse analysis, with Wusi critical discourse of the Enlightenment and the romantic lyric discourse as well as speech and political discourse since the revolution in contrast, conclude that since the 1990’s novels personal narrative discourse, and the tendency of revelry. Writing fully exert the freedom to become a writer, language out of the reality from the political, cultural constraints, showing a completely free state.Ⅱ.Narrative Structure: The fictional imagination forestBorrowed symbols of contemporary expressions of Jurists Eco: He put a piece of literary texts as the jungle, how to pass through this piece of the jungle depends on the writer’s narrative methods and readers expection. This section is still start with the contrastion of the novels before 1990s, descriping that the native novels since 1990’s always lack of narrative clues and the plot seems to be absurd and irrational as well as the aesthetic orientation vilify trial.ConclusionChaos narrative is one of the general narrative features of the native novels since the 1990’s. This article is based on local stories as an example just to prove the features. On one hand, chaotic narrative makes the novels come toward literature itself, getting rid of the shackles and fetters of ideology. But on the othe hand, too much emphasis on the technical operation is away from the topic that "literary is an human study ". The novels’ original "local color" and "custom scene" has become blurred. As intellectuals, writers should be more commitment to humane care and enlightened critical task. How to harmonize the two—not only put the shackles of ideology into literary, searching meaning from the words, but also can give full play to the literary imagination functions and wtite freely, which remains to be the future to further explore the practice of literary creation.更多还原