聚焦叙述、圆形人物与“无用的细节”——长篇小说《最后的梦园》艺术手法赏析
|
摘要
长篇小说《最后的梦园》不仅思想主题深刻,创作手法也力图求新求变,实现突破。首先,小说采用多视角下的焦点叙述,通过多种视角聚焦江屾"所见、所闻、所感"展开叙事,以主人公江屾一人的行动带动全部外在情节的发展;其次,在焦点叙述模式中聚焦的江屾是作者极力塑造的圆形人物形象,作者通过其心理活动刻画、写"美人陋处"等手法把江屾成功塑造为"圆形"人物形象,很难用"冷酷无情杀手"抑或"行侠仗义英雄"来定义他,小说中的他一直纠缠在金钱与道义、兽性与人性的两难选择之中,呈现出"圆形"人物的性格特征,这样造就了小说更加宽阔的审美空间;最后,小说中大量引入动物学、兵器、宗教知识等说明性文字,这些"无用的细节"是结构大于情节现象的体现,同时也增添了小说文化底蕴的厚重感,"无用"而成其为"有用"。
Hou Naiming's novel The Last Dream Gardenis not only profound in its theme, and the creative technique is also deliberately seeking new changes. Firstly, the novel adopts the focus narrative mode from multiple perspectives. The narration is carried out from the restricted third-party perspective and the non-restricted all-knowing and all-powerful perspective by focusing on Jiang Shen's seeing, hearing and feeling. The action of the hero Jiang Shen drives the development of whole exterior plot. Secondly, Jiang Shen, who focuses on the narrative mode of focus, is a circular figure created by the author. The author successfully portrays Jiang Shen as a "circular"figure by means of portraying the psychological activities of the characters and writing "beauty's ugliness". It is difficult to define him by "ruthless killer" or "chivalrous hero". In the novel, he has been entangled with money and morality, beastliness and human beings. The character characteristics of "round" characters are presented. This creates a broader aesthetic sense space for the novel. Finally, a large number of explanatory words about wildlife,weapons and religious knowledge are introduced into the novel. These "useless details" are the manifestation of the phenomenon that the structure is greater than the plot, and at the same time, they add to the profound sense of the cultural connotation of the novel, "useless" and become "useful"
Hou Naiming's novel The Last Dream Gardenis not only profound in its theme, and the creative technique is also deliberately seeking new changes. Firstly, the novel adopts the focus narrative mode from multiple perspectives. The narration is carried out from the restricted third-party perspective and the non-restricted all-knowing and all-powerful perspective by focusing on Jiang Shen's seeing, hearing and feeling. The action of the hero Jiang Shen drives the development of whole exterior plot. Secondly, Jiang Shen, who focuses on the narrative mode of focus, is a circular figure created by the author. The author successfully portrays Jiang Shen as a "circular"figure by means of portraying the psychological activities of the characters and writing "beauty's ugliness". It is difficult to define him by "ruthless killer" or "chivalrous hero". In the novel, he has been entangled with money and morality, beastliness and human beings. The character characteristics of "round" characters are presented. This creates a broader aesthetic sense space for the novel. Finally, a large number of explanatory words about wildlife,weapons and religious knowledge are introduced into the novel. These "useless details" are the manifestation of the phenomenon that the structure is greater than the plot, and at the same time, they add to the profound sense of the cultural connotation of the novel, "useless" and become "useful"
引文
[1]侯乃铭.最后的梦园[M].贵阳:贵州人民出版社,2016.
[2]杨义.中国叙事学[M].北京:中国社会科学出版社,2007.
[3]陈洪.中国小说理论史[M].合肥:安徽文艺出版社,1992.
[4]陈平原.中国小说叙事模式的转变[M].上海:上海人民出版社,1988.
[5]童庆炳.文学概论[M].武汉:武汉大学出版社,2000:565.
[6]E.M.福斯特.小说面面观[M].冯涛,译.北京:人民文学出版社,2009:57.
[7]荣格.心理学与文学[M].冯川,苏克,译.北京:三联书店,1987:10.
[8]乔纳森·卡勒.结构主义诗学[M].北京:中国社会科学出版社,1991:289.
[9]高行健.现代小说技巧初探[M].广州:花城出版社,1981:72.
[2]杨义.中国叙事学[M].北京:中国社会科学出版社,2007.
[3]陈洪.中国小说理论史[M].合肥:安徽文艺出版社,1992.
[4]陈平原.中国小说叙事模式的转变[M].上海:上海人民出版社,1988.
[5]童庆炳.文学概论[M].武汉:武汉大学出版社,2000:565.
[6]E.M.福斯特.小说面面观[M].冯涛,译.北京:人民文学出版社,2009:57.
[7]荣格.心理学与文学[M].冯川,苏克,译.北京:三联书店,1987:10.
[8]乔纳森·卡勒.结构主义诗学[M].北京:中国社会科学出版社,1991:289.
[9]高行健.现代小说技巧初探[M].广州:花城出版社,1981:72.