反传统的历史书写——李劼人《死水微澜》和莫言《红高粱家族》
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摘要
中国传统历史小说的历史观和道德观有依附于正史的特点,但是这种特点在近现代已经开始动摇,30年代李劼人的《死水微澜》开创了以"风俗史"写历史的先河,为历史小说带来了新的风貌。而80年代莫言的《红高粱家族》突破了"革命历史题材"小说的红色经典英雄史诗叙事,成为了新历史小说的代表作。李劼人的《死水微澜》和莫言的《红高粱家族》,尽管书写于不同的年代,但都表现出了与传统历史小说不同的历史观和道德观,并较好地完成了史性与诗性的融合。
The views of history and morality in Chinese traditional historical fictions are deeply influenced by official history. However, this kind of characteristic has gradually changed in modern times. Ripples Across Stagnant Water by Li Jieren in 30 s created a new style of writing by writing history in customs. Besides, Red Sorghum by Mo Yan in 80 s has broken through the red classic heroic epic narrative of the "revolutionary history subject" novels, and become the representative work of the new historical novels. Although this two books were finished in different times, the views of history and morality in them both show great differences from traditional historical fictions when they successfully complete the integration of history and poetry.
The views of history and morality in Chinese traditional historical fictions are deeply influenced by official history. However, this kind of characteristic has gradually changed in modern times. Ripples Across Stagnant Water by Li Jieren in 30 s created a new style of writing by writing history in customs. Besides, Red Sorghum by Mo Yan in 80 s has broken through the red classic heroic epic narrative of the "revolutionary history subject" novels, and become the representative work of the new historical novels. Although this two books were finished in different times, the views of history and morality in them both show great differences from traditional historical fictions when they successfully complete the integration of history and poetry.
引文
[1]齐裕焜.中国历史小说通史[M].南京:江苏教育出版社,2000.
[2]杨联芬.从曾朴到李劼人:中国长篇历史小说现代模式的形成[J].四川大学学报(哲学社会科学版),2003(06):92-98.
[3]姚雪垠.谈《李自成》的若干创作思想(下)[J].文艺理论研究,1984(02):1-12.
[4]李劼人.死水微澜[M].北京:人民文学出版社,2000.
[5]莫言.红高粱家族[M].上海:上海文艺出版社,2012.
[6]杨继兴.长篇历史小说传统形式的突破——论李劼人历史小说的独创性及其在文学史上的地位[J].四川师范大学学报(社会科学版),1987(03):21-29.
[7]李劼人.死水微澜(汇校本)[M].成都:四川文艺出版社.1987.
[8]宋剑华,张冀.革命英雄传奇神话的历史终结——论莫言《红高粱家族》的文学史意义[J].湖南大学学报(社会科学版),2006(05):92-97.
[9]胡玉伟.李劼人:重建女性神话——“大河小说”情爱叙事的的文本阐释[J].辽宁师范大学学报,2002(03):74-77.
[10]郭沫若.中国左拉之待望.//李劼人.李劼人选集[M].成都:四川人民出版社,1980.
[11]莫言.奇死之后的信笔涂鸦[J].昆仑,1986(06):33-34.
[12]秦弓.李劼人历史小说与川味叙事的独创性[J].西南师范大学学报(人文社会科学版),2002(01):132-135.
[2]杨联芬.从曾朴到李劼人:中国长篇历史小说现代模式的形成[J].四川大学学报(哲学社会科学版),2003(06):92-98.
[3]姚雪垠.谈《李自成》的若干创作思想(下)[J].文艺理论研究,1984(02):1-12.
[4]李劼人.死水微澜[M].北京:人民文学出版社,2000.
[5]莫言.红高粱家族[M].上海:上海文艺出版社,2012.
[6]杨继兴.长篇历史小说传统形式的突破——论李劼人历史小说的独创性及其在文学史上的地位[J].四川师范大学学报(社会科学版),1987(03):21-29.
[7]李劼人.死水微澜(汇校本)[M].成都:四川文艺出版社.1987.
[8]宋剑华,张冀.革命英雄传奇神话的历史终结——论莫言《红高粱家族》的文学史意义[J].湖南大学学报(社会科学版),2006(05):92-97.
[9]胡玉伟.李劼人:重建女性神话——“大河小说”情爱叙事的的文本阐释[J].辽宁师范大学学报,2002(03):74-77.
[10]郭沫若.中国左拉之待望.//李劼人.李劼人选集[M].成都:四川人民出版社,1980.
[11]莫言.奇死之后的信笔涂鸦[J].昆仑,1986(06):33-34.
[12]秦弓.李劼人历史小说与川味叙事的独创性[J].西南师范大学学报(人文社会科学版),2002(01):132-135.