“寻找的主题”和“古典的诗意”
摘要
中国新时期文学在几十年的发展历程中出现众多流派,构成中国新时期文学史的脉络。但在这些轰轰烈烈的文学流派之外,依然有很多有研究价值的作家和作品因为种种原因被文学史忽略,对这些作家作品的挖掘应当成为文学研究者的一个研究方向。山西女作家蒋韵就是这样一位被忽略的作家,蒋韵生于1954年,为中国作协会员,三十年来,她笔耕不辍地写作,作品共计三百多万字。然而相对于其创作而言,与同时代女作家相比,对她的研究非常薄弱,至今为止,公开发表的研究蒋韵作品的学术论文只有六十多篇,而且对她作品的研究多集中在思想方面,对其它领域较少涉及,而且缺乏系统性的研究。这种研究的缺失很重要的原因是蒋韵未被归入任何一个文学流派,但文学作为一种个体的精神性创造,其特质就在于反对“统一”,展现“多元化”,文学是要百花齐放,百家争鸣的。一个开放繁荣的文学时代是允许各种声音存在的,三十多年的创作,蒋韵已经形成自己独特的风格,在踽踽独行中发出自己的声音,一直坚守着自己的文学品格,这种坚守在今天不得不说是一个珍贵的存在。
本文选取蒋韵作为研究对象,旨在通过对蒋韵小说的研究,对蒋韵的创作作一个系统全面的研究,分析其作品的思想内涵、艺术特色及其创作特色形成的原因,并通过分析其创作的独特性,来展现其文学价值。
本论文由三大部分组成：
第一章主要是从小说内涵上来分析,以“失去”和“寻找”这一主题作为对蒋韵作品的总括,分为三个方面来讲述“失去”和“寻找”。第一节是寻找失去的家园,蒋韵通过小说主人公对自己家园的寻找上升到对人类精神家园的寻找。第二节主要是讲述在现代化进程中传统的失落,蒋韵通过对古典、传统的意义的重述,希望能引起对传统的重视。第三节主要讲对沉沦的人性的批判和对美好人性的呼唤。蒋韵通过对人性恶的批判,展现人性自私、偏狭的一面,同时通过对美好人性的赞扬,希望唤起纯洁善良的人性。
第二章主要分析小说的艺术风格,分析小说诗意的审美追求,诗化的语言和融情于景的意境。其次对小说独特的叙事风格进行分析,对小说独特的多人限制性视角叙事的效果进行分析,对小说分两条线进行的叙事结构进行总结。
第三章主要是从经历来探讨蒋韵创作特色的形成原因,作家的经历往往会对其创作产生深刻的影响,蒋韵的创作受她人生经历的影响深远,从人生经历和阅读经验来了解蒋韵,是了解蒋韵及其作品很好的切入点。蒋韵童年时搬离故乡来到他乡的经历对她的人生有重要影响,也是她创作特色形成的重要原因。作为文革中的“小三届”,独特的人生经历让她产生为她这—茬人作传的想法。她用自己独特的视角记录下她眼中的文革和激情的八十年代。她的阅读经历同样是形成她创作风格的重要原因,《红楼梦》和俄罗斯文学是解读她的一个切入点。
结语部分对蒋韵的创作价值进行总结,指出研究蒋韵作品的重要性。
Chinese literature of new period has appeared many literary genre during the decades of development, which constitute the structure of the Chinese literature in the new period. But there are still many writers and works of research value are neglected by the history of literature which are outside these vigorous literary genre. The mining of these writers and works should be one research direction of literature researchers. The Shanxi writer Jiang Yun is one neglected writer like this. She was born in1954and worked as a member of Chinese writers association. For thirty years, she kept on writing and the total of her works was more than three million words. Compare with contemporary female writers, the research on her is very weak. There are only about60published academic papers that researching on her works. These papers focus on the content of her works which are less involved in other areas, and they lack of systematic research. The important reason of the lack of research is that Jiang Yun is not classified as a member in any literary genre. As spiritual creation of the individual, the trait of literature is diversity, not unity. Literature demands that different factions and style conduct free development and debate. An open and thriving literature era allows all kinds of sounds. Jiang Yun has formed her own unique style in thirty years creation. She strives alone to form her own creation style and she sticks to her own literary character which is very precious in nowadays.
My paper selects Jiang Yun as the research object is to make a comprehensive study on Jiang Yun's creation through the study of her novels. I will analyze the ideological content, artistic features and the causes of her creation style of her works. And I will analyze the uniqueness of her creation to show her literature value. This paper consists of three chapters:
The first chapter mainly analyze the content of the novel. It put the "lost" and "find" as a blanket theme of Jiang Yun's works and it is divided into three aspects to tell the "lost" and "find".The first section is to look for the lost homes. Jiang Yun enhances the theme of looking for home to seeking the human's spiritual home. The second section is mainly about the lost of tradition in modernization. Jiang Yun hopes it can cause the attention to the tradition through a restatement of the meaning of classic and tradition. The third section is mainly about criticism of the destruction of human nature and the call of good human nature. Jiang Yun displays selfishness and intolerance of human nature by criticizing the evil in human nature. Through the praise of good human nature, she wants to arouse the pure goodness of human nature,
In the second chapter, I mainly analyze the artistic style of the novel, the aesthetic pursuit of poetic novel, the poetic language and the artistic conception of emotion in the scene. Than I analyze the novel's unique narrative style and the unique more restrictive narrative angle. At last I summarize the two lines of narrative structure of novels.
In the third chapter, I mainly explore the reasons of Jiang Yun's creating style and content from her experience. The writer's experience usually has a profound influence on his creation. Jiang Yun's creation is deeply influenced by her experience. From life and reading experience to understand Jiang Yun is a very good starting point to know Jiang Yun and her works. Jiang Yun moved away from home in early childhood and the experience has important influence on her life which is the important reason of the formation of her writing style. As "little three sessions" in the cultural revolution, the unique life experiences have an so profound influence on her that she wants to write biography for her generation. She recorded the cultural revolution and passionate1980s with her unique perspective. Her reading experience is also an important reason of forming her writing style. Knowing the famous novel A dream of red mansions and Russian literature is a good pointcut in interpreting her creation.
本文选取蒋韵作为研究对象,旨在通过对蒋韵小说的研究,对蒋韵的创作作一个系统全面的研究,分析其作品的思想内涵、艺术特色及其创作特色形成的原因,并通过分析其创作的独特性,来展现其文学价值。
本论文由三大部分组成：
第一章主要是从小说内涵上来分析,以“失去”和“寻找”这一主题作为对蒋韵作品的总括,分为三个方面来讲述“失去”和“寻找”。第一节是寻找失去的家园,蒋韵通过小说主人公对自己家园的寻找上升到对人类精神家园的寻找。第二节主要是讲述在现代化进程中传统的失落,蒋韵通过对古典、传统的意义的重述,希望能引起对传统的重视。第三节主要讲对沉沦的人性的批判和对美好人性的呼唤。蒋韵通过对人性恶的批判,展现人性自私、偏狭的一面,同时通过对美好人性的赞扬,希望唤起纯洁善良的人性。
第二章主要分析小说的艺术风格,分析小说诗意的审美追求,诗化的语言和融情于景的意境。其次对小说独特的叙事风格进行分析,对小说独特的多人限制性视角叙事的效果进行分析,对小说分两条线进行的叙事结构进行总结。
第三章主要是从经历来探讨蒋韵创作特色的形成原因,作家的经历往往会对其创作产生深刻的影响,蒋韵的创作受她人生经历的影响深远,从人生经历和阅读经验来了解蒋韵,是了解蒋韵及其作品很好的切入点。蒋韵童年时搬离故乡来到他乡的经历对她的人生有重要影响,也是她创作特色形成的重要原因。作为文革中的“小三届”,独特的人生经历让她产生为她这—茬人作传的想法。她用自己独特的视角记录下她眼中的文革和激情的八十年代。她的阅读经历同样是形成她创作风格的重要原因,《红楼梦》和俄罗斯文学是解读她的一个切入点。
结语部分对蒋韵的创作价值进行总结,指出研究蒋韵作品的重要性。
Chinese literature of new period has appeared many literary genre during the decades of development, which constitute the structure of the Chinese literature in the new period. But there are still many writers and works of research value are neglected by the history of literature which are outside these vigorous literary genre. The mining of these writers and works should be one research direction of literature researchers. The Shanxi writer Jiang Yun is one neglected writer like this. She was born in1954and worked as a member of Chinese writers association. For thirty years, she kept on writing and the total of her works was more than three million words. Compare with contemporary female writers, the research on her is very weak. There are only about60published academic papers that researching on her works. These papers focus on the content of her works which are less involved in other areas, and they lack of systematic research. The important reason of the lack of research is that Jiang Yun is not classified as a member in any literary genre. As spiritual creation of the individual, the trait of literature is diversity, not unity. Literature demands that different factions and style conduct free development and debate. An open and thriving literature era allows all kinds of sounds. Jiang Yun has formed her own unique style in thirty years creation. She strives alone to form her own creation style and she sticks to her own literary character which is very precious in nowadays.
My paper selects Jiang Yun as the research object is to make a comprehensive study on Jiang Yun's creation through the study of her novels. I will analyze the ideological content, artistic features and the causes of her creation style of her works. And I will analyze the uniqueness of her creation to show her literature value. This paper consists of three chapters:
The first chapter mainly analyze the content of the novel. It put the "lost" and "find" as a blanket theme of Jiang Yun's works and it is divided into three aspects to tell the "lost" and "find".The first section is to look for the lost homes. Jiang Yun enhances the theme of looking for home to seeking the human's spiritual home. The second section is mainly about the lost of tradition in modernization. Jiang Yun hopes it can cause the attention to the tradition through a restatement of the meaning of classic and tradition. The third section is mainly about criticism of the destruction of human nature and the call of good human nature. Jiang Yun displays selfishness and intolerance of human nature by criticizing the evil in human nature. Through the praise of good human nature, she wants to arouse the pure goodness of human nature,
In the second chapter, I mainly analyze the artistic style of the novel, the aesthetic pursuit of poetic novel, the poetic language and the artistic conception of emotion in the scene. Than I analyze the novel's unique narrative style and the unique more restrictive narrative angle. At last I summarize the two lines of narrative structure of novels.
In the third chapter, I mainly explore the reasons of Jiang Yun's creating style and content from her experience. The writer's experience usually has a profound influence on his creation. Jiang Yun's creation is deeply influenced by her experience. From life and reading experience to understand Jiang Yun is a very good starting point to know Jiang Yun and her works. Jiang Yun moved away from home in early childhood and the experience has important influence on her life which is the important reason of the formation of her writing style. As "little three sessions" in the cultural revolution, the unique life experiences have an so profound influence on her that she wants to write biography for her generation. She recorded the cultural revolution and passionate1980s with her unique perspective. Her reading experience is also an important reason of forming her writing style. Knowing the famous novel A dream of red mansions and Russian literature is a good pointcut in interpreting her creation.
引文
① 蒋韵：《我为我命名》,《语文教学与研究》,2010年第3期。
② 李国涛等：《生命与历史：诗意的消解》,《当代作家评论》,1997年第1期。
① 蒋韵：《我们正在失去什么》,《当代作家评论》,2005年第4期。
② 蒋韵：《我们正在失去什么》,《当代作家评论》,2005年第4期。
③ 蒋韵：《我和我的城市》,《雨花》,1998年第7期。
① 荣格：《论分析心理学与诗歌的关系》[M].三联书店,1997年,第121页。
① 陈思和：《当代文学中的文化寻根意识》,《文学评论》,1986年第6期。
① 蒋韵：《在路上》,《文学自由谈》,1992年第4期。
② 陈继会：《二十世纪中国小说文化精神》[M].东方出版社,2002年,第12页。
① 费孝通：《初访美国》[M].生活书店,1946年,第109页。
② 费孝通：《初访美国》[M].生活书店,1946年,第109页。
③ 蒋韵：《我为我命名》,《语文教学与研究》,2010年第3期。
① 休谟：《人性论》[M].商务印书馆,1991年,第625页。
② 陈思和主编：《上海五十年文学批评丛书·评论卷》[M].华东师范大学出版社,1999年,第92页。
① 蒋韵：《我给我命名》,《语文教学与研究》,2010年第3期。
② 蒋韵：《阅读田野》,《语文世界》,2001年第2期。
① 昆德拉：《慢》,马振骋译,上海译文出版社,2003年版,第4页。
① 刘恒、戴锦华等：《蒋韵长篇小说(栎树的囚徒)谈片》,《当代作家评论》,1997年第3期。
① 笛安：《请你保佑我》,《人民文学》,2007年第11期。
② 笛安：《请你保佑我》,《人民文学》,2007年第11期。
③ 毛时安：《美丽的忧伤——关于蒋韵近作的一种解读》,《上海文学》,1992年第6期。
① 蒋韵：《大雪满弓刀》,《收获》,1994年第4期。
① 李遇春：《对话与交响——论长篇小说(秦腔)的复调特征》,《小说评论》,2006年第1期。
① 童庆炳：《作家的童年经验及其对创作的影响》,《文学评论》,1993年第4期。
① 傅书华：《人类的“十四岁”诗吟——论蒋韵的小说创作》,《理论与创作》,2000年第5期。
① 蒋韵、孙频：《华美的悲情与生命的厚度》,《上海文学》,2012年第2期。
② 蒋韵：《想开一家这样的书店》,《悠长的邂逅》,知识出版社,2002年8月,33—36页。
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② 李国涛等：《生命与历史：诗意的消解》,《当代作家评论》,1997年第1期。
① 蒋韵：《我们正在失去什么》,《当代作家评论》,2005年第4期。
② 蒋韵：《我们正在失去什么》,《当代作家评论》,2005年第4期。
③ 蒋韵：《我和我的城市》,《雨花》,1998年第7期。
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① 陈思和：《当代文学中的文化寻根意识》,《文学评论》,1986年第6期。
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