摘要
历史中的"现实"元素和小说中的"虚构"元素表面上对立,然而它们并非以损害对方为目的。余华的小说《活着》巧妙地运用二者对抗产生的张力,使这两个元素处于一种稳固状态。。文章从叙事视角、叙事结构和故事情节三方面分析《活着》的张力,体味小说的艺术价值。
The"real"elements in history and the "fictitious"elements in the novel are opposites on the surface, but they are not intended to harm each other. The novel Being Alive written by Yu Hua skillfully employs the tension resulted from the confrontation between the two elements so that the two elements fall into a stable state. An analysis is to be made of the tension in Being Alive from the three aspects of narrative perspective, narrative structure and story plots, thus appreciating the artistic value of the novel.
引文
[1]WHITE H.The Historical Text as Literary Artifact[M]//Tropics of Discourse:Essays in Cultural Criticism.Baltimore:The Johns Hopkins University Press,1987.
[2]SCHOLES R,KELLOGG R.The Nature of Narrative[M].New York:Oxford University Press,1966:5.
[3]余华.活着[M].北京:作家出版社,2012.
[4]HARMON W,HOLMAN H.A Handbook to Literature[M].6th ed.New York:Macmillan,1992:473.
[5]张寅德.叙事学研究[M].北京:中国社会科学出版社,1989:65.
[6]余华.《活着》新版自序[M]//余华.活着.台北:台北麦田出版社,2007:2.
[7][英]戴维·洛奇.小说的艺术[M].王峻岩,译.北京:作家出版社,1998:240.
(1)参见范美忠:《虚假而失败的〈活着〉》,http://bbs.tianya.cn/post-books-9567-1.shtml,2008年7月26日。文章指出,《活着》的故事情节过于虚假,尽管福贵命途多舛,他身边所有亲人的去世,自己唯一的幸存几乎是不可能的。