论赵树理小说中的农具书写
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摘要
赵树理是一个真正从农民中间走出的中国现当代作家,他亲自参加过农业生产劳动,对农民的生产、生活与情感都感同身受,深刻理解农民的需求与愿望。赵树理把农具写进作品,形成了独特的农具文学意象。在赵树理的作品中,农具意象参与了形象塑造,并隐含着一种价值倾向,显现了手工农具与集体劳动之间的疏离。赵树理对农民与农村的想象来自于自己的生活与工作经历,他笔下的农村画面更鲜明、农民形象更真实,让农村题材小说真正下延到农村形而下的生活之上,使农村题材小说立于更为坚实的大地之上。
Zhao Shuli was a modern and contemporary Chinese writer who really came out of the farmers. He personally participated in agricultural production and labor,and had a deep understanding of farmers' needs and aspirations. He wrote agricultural implements into his works and formed a unique image of farming tools. In his works,the image of farm tools participates in the image shaping,and implies a value tendency,showing the alienation between manual farm implements and collective labor.Zhao's imagination of the farmers and the countryside comes from his own life and work experience. His pictures of the countryside are more distinct and the images of the farmers are more real,so that the rural theme novels really extend to the life of the countryside,and make the rural theme novels stand on a more solid land.
Zhao Shuli was a modern and contemporary Chinese writer who really came out of the farmers. He personally participated in agricultural production and labor,and had a deep understanding of farmers' needs and aspirations. He wrote agricultural implements into his works and formed a unique image of farming tools. In his works,the image of farm tools participates in the image shaping,and implies a value tendency,showing the alienation between manual farm implements and collective labor.Zhao's imagination of the farmers and the countryside comes from his own life and work experience. His pictures of the countryside are more distinct and the images of the farmers are more real,so that the rural theme novels really extend to the life of the countryside,and make the rural theme novels stand on a more solid land.
引文
[1]李普.赵树理印象记[A].赵树理研究资料[M].太原:北岳文艺出版社,1985.
[2]鲁迅.我怎么做起小说来[A].鲁迅全集(第四卷)[M].北京:人民文学出版社,2005.
[3]戴光中.赵树理传[M].北京:北京十月文艺出版社,1987.
[4]朱庆华,陈俊.鲁迅、赵树理农村题材小说之反向互补特性[J].西北大学学报,2009,(1).
[5]唐弢,严家炎.中国现代文学史[M].北京:人民文学出版社,1980.
[6]刘治立.庆阳特色文化研究·农耕文化卷[M].兰州:飞天出版传媒集团甘肃文化出版社,2014.
[7]郭志刚,等.中国当代文学史初稿[M].北京:人民文学出版社,1995.
[8]费孝通.乡土中国[M].南京:凤凰出版传媒集团,江苏文艺出版社,2007.
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[10]孙正国.《三里湾》:文学人类学意义上的文化真实[J].人文杂志,2003,(3).
[11]农为平.乡土文学中即将消失的农事描写[J].扬子江评论,2017,(3).
[12]张柠.土地的黄昏[M].北京:中国人民大学出版社,2013.
[13]陈顺馨. 1962夹缝中的生存[M].北京:人民文学出版社,2017.
[14]黄修己.赵树理研究资料[M].太原:北岳文艺出版社,1985.
[15]加藤三由纪.关于《三里湾》的评价[J].高捷,译.山西大学学报,1987,(2).
[16]戴光中.赵树理传[M].北京:北京十月文艺出版社,1987.
[17]贺桂梅.村庄里的中国:赵树理与《三里湾》[J].文学评论,2016,(1).
[18]温儒敏,赵祖谟.中国现当代文学专题研究[M].北京:北京大学出版社,2013.
[19]董之林.热风时节——当代中国十七年小说史论(上)[M].上海:上海书店出版社,2008.
[20]赵树理.谈谈花鼓戏《三里湾》[A].赵树理全集(第四卷)[M].北京:工人出版社,1984.
[21]伍蠡甫,胡经之.西方文艺理论名著选编(中卷)[M].北京:北京大学出版社,1986.
[22]李杨. 50—70年代中国文学经典再解读[M].济南:山东教育出版社,2006.
[23]唐小兵.再解读——大众文艺与意识形态[M].北京:北京大学出版社,2007.
[24]刘旭.赵树理文学的叙事模式研究[M].太原:山西出版传媒集团,北岳文艺出版社,2015.
[2]鲁迅.我怎么做起小说来[A].鲁迅全集(第四卷)[M].北京:人民文学出版社,2005.
[3]戴光中.赵树理传[M].北京:北京十月文艺出版社,1987.
[4]朱庆华,陈俊.鲁迅、赵树理农村题材小说之反向互补特性[J].西北大学学报,2009,(1).
[5]唐弢,严家炎.中国现代文学史[M].北京:人民文学出版社,1980.
[6]刘治立.庆阳特色文化研究·农耕文化卷[M].兰州:飞天出版传媒集团甘肃文化出版社,2014.
[7]郭志刚,等.中国当代文学史初稿[M].北京:人民文学出版社,1995.
[8]费孝通.乡土中国[M].南京:凤凰出版传媒集团,江苏文艺出版社,2007.
[9]赵树理.赵树理代表作[M].北京:华夏出版社,2009.
[10]孙正国.《三里湾》:文学人类学意义上的文化真实[J].人文杂志,2003,(3).
[11]农为平.乡土文学中即将消失的农事描写[J].扬子江评论,2017,(3).
[12]张柠.土地的黄昏[M].北京:中国人民大学出版社,2013.
[13]陈顺馨. 1962夹缝中的生存[M].北京:人民文学出版社,2017.
[14]黄修己.赵树理研究资料[M].太原:北岳文艺出版社,1985.
[15]加藤三由纪.关于《三里湾》的评价[J].高捷,译.山西大学学报,1987,(2).
[16]戴光中.赵树理传[M].北京:北京十月文艺出版社,1987.
[17]贺桂梅.村庄里的中国:赵树理与《三里湾》[J].文学评论,2016,(1).
[18]温儒敏,赵祖谟.中国现当代文学专题研究[M].北京:北京大学出版社,2013.
[19]董之林.热风时节——当代中国十七年小说史论(上)[M].上海:上海书店出版社,2008.
[20]赵树理.谈谈花鼓戏《三里湾》[A].赵树理全集(第四卷)[M].北京:工人出版社,1984.
[21]伍蠡甫,胡经之.西方文艺理论名著选编(中卷)[M].北京:北京大学出版社,1986.
[22]李杨. 50—70年代中国文学经典再解读[M].济南:山东教育出版社,2006.
[23]唐小兵.再解读——大众文艺与意识形态[M].北京:北京大学出版社,2007.
[24]刘旭.赵树理文学的叙事模式研究[M].太原:山西出版传媒集团,北岳文艺出版社,2015.