“死亡”沉思
摘要
白先勇在他的小说中用了大量的笔墨讲述着死亡。在“死亡”叙述中执着地表达着“死亡是人类生存的本质特征”这一主题。并且,白先勇小说中的“死亡”也是反思人类生存状态的一个支点,在对“死亡”的执着思考和表达中,白先勇关注着人类生存的迷执与苦闷。人类陷入了被“放逐”的命运之网中,于此间苦苦挣扎,致使人类又普遍陷入了情感的困境。白先勇在展现“死亡”的必然和人类的生存困境的同时,也在“死亡”中寄予了重生的希望——情感与理想的重生。
Bai Xianyong is a tragedy novelist who specializes in the description of "death". In his world of perplexed and clinging“tragedy”which is full of pain and sufferings and appetence, the "death" became a necessary part In his novel. Mr. White dose not regard“death”as the adjunct of tragedy purely or the necessity of configuration design of tragedy. On the contrary, here, the "death" becomes the origin of the whole shoot about thinking, and becomes the reason and the foundation that he sets up the world of“tragedy”. The contemplation of "death" in Mr. White’s novel is a fulcrum that he closes to the existent deep end of humankind.
In his novels Bai Xianyong persists in expressing and thinking toward "death" which is not irrelevant in his life experience. His growth experience is also the process of precipitation about the consciousness of“death”in his mind. Since birth, he has been feeling the oppression of death. The ancient and gray big rooms, the fearful ghost story told by his fetishistic aunt, and the bricklayer who is bombed into crush near the fish pond side, which like a seed of“death”embedded in Bai Xianyong’s young and small mind. The experience of sickness in Chongqing made the young have more impressible cognition of death. After that, though several times of desertion and migration, Bai Xianyong also discerned the great changes of Chinese society, saw much more separation in life or deaths, experienced the separation of close relatives and the ruin of family, a series of life change, and felt the impermanence of life together with huge strength of death. However, in his early novels, concerning the thinking of "death", which depositing in his mind towards the consciousness of“death”was shown naturally and unconsciously, also can't guide him to the answer that he has been being investigating all the time. The death of his mother urged him to think more seriously and self-consciously about death. His mother’s death made him think deeply and recognize more thoroughly on death and survive. Bai Xianyong realized the thing that death is inevitable and common destiny of humankind. And it is the same way of home to human. The idea that“death is the essence characteristic of human existence" which he investigates perseveringly in his thought, emerged gradually and clearly in his mind, and is the subject which expressed insistently in his literature creations.
Since Bai Xianyong engaged in literature creations,he cann’t help choosing to write tragedy and“death”.In the novels which were written in the early stage ,“death”became the major object to write.After two years of keeping silent,in《The Death Of Chicago》written in 1964,Bai Xianyong’thinking and expressing about“death”became more mature and profound.After this Bai Xianyong wtote 22 short stories and unique river novel《Crystal Boys》also inherited the thinking and searching of the“death”.Making a comprehensive view of 22 short stories and unique river novel《Crystal Boys》which had been telling of“death”,“death”impenetrated varied crowd’lives,had become a necessary part of existence of human being . The“death”is the finale of the tragic dramatis personaes;or a inducement that would bring about“alive”people to pain ; or a witness of huge change of the world and times; or a window to oversee the politics status of the china ; even a“background”to the living of human being . In the other 12 short stories , although there are not the depiction of“death”, there are many“death” wording ,or entire chapter flowed the current liking the death . The“death”in these 12 short stories ,mostly are the death of the sensibilities and idealities when human being are living perplexedly and clingingly. In the meantime,Bai Xianyong is also a sensitive and meticulous relater of the“death”. In the novels, he not only describes a great deal of scenes of the death directly, but also uses many imagoes of symbol of the death to complete his thinking about“death”. First, Bai Xianyong molds many person images which have the symbol meaning of the "death". These person images are the incarnations of the death , or the lure that Azrael intercalates in the world , allure the persons to plunge into the traps of the death . Second , he uses colors to symbolize the death . Bai Xianyong likes to use“red”and“white”to symbolize the death .“Red”represents bleeding and death ,but Bai Xianyong most emphasizes particularly on“contrast”’s using of the“red”symbolizing happiness and gladness to represent the inescapability of the death and impermanence of the life . The“white”is the color which symbolizes“death”in traditional culture in China.. In the novels of Bai Xianyong ,“white”not only appears in the“death”Scenes , but also indicates the coming of the death .Besides, he also uses“rain”and“snow”belong to the spectrum of the“white”. The using of the symbolic imagoes like direct describing is serving for the thinking and expressing for“Death is essential character of the living of human being”.
Bai Xianyong, in the description of“death”, with regard to the thinking of death and the persistent expression of“the death is the essence characteristic of mankind”, coming from the repeating thought and consideration to the existing circumstances of humankind. The understanding of“the death is the essence characteristic of human existence”, which urge his drawing to extend through the“existence essence”of humankind’s themselves -“the puzzlement and depression of human existence”. Two aspects are reflected. First of all, it is the existent state of mankind who are exiled. The mankind have right to“living”and also own the essence characteristic of“deanth”. The death would send people’s natural life in exile. At the same time mankind is suffering the exile of human themselves. The banishment of mankind result from the banishment of natural life which lead to another form of humankind’s exile that is inevitable. The oppression of“death”urges mankind to express persistence of“living”. In the process of searching for something“exist”that is eternal, those criterions and prescriptions made by human themselves extruded the existence of human, also restricted the development of human, threw mankind into a kind of more delusive banishment. The mankind's self-imposed exile in essence is because of the inroad on human made by culture leading to banishment. Therefore, in the novels of Bai Xianyong, Chinese lived abroad and people yearned for home of china who flee from a calamity of mainland to Taiwan, are suffering the dual banishment,“domestic country”and“foreign country”, in the embarrassed civilization. Prostitute and homosexuality hesitate on the edge of society in the extrusion of mainstream society. Just as death is the essence characteristic that the mankind exist, the natural life evolved from death and mankind’s self banishment are also an essence characteristics of mankind. Imperceptibly and inexorably a supernatural strength, usually called it“destiny”habitually, dominates the mankind, making the mankind sink into larger“banishment”between“exile”and get away from the“banishment”. Secondly, it is the mankind's affective widespread predicament. In Bai Xiayong’s novel the exhibition of the widespread predicament of mankind emotion is to inherit the consideration and the attention to the essence existence --banishment of human’s life. The essence and original reason of the corner in mankind’s emotion is death -- the banishment of the natural life. In the meantime, the mankind's self-imposed exile also caused the alienation of mankind’s emotion. Interpersonal alienation and diaphragm caused the mankind sink into a widespread predicament on the emotion. The prevalent emotion predicament of humankind in Bai Xianyong’s novel is mainly divided into two kinds of forms: trample of mankind’s fine emotion and the self oppression of mankind. They depend on each other, the trample of mankind’s fine emotion is the direct cause of the self oppression of mankind. In the novel of Bai Xianyong, not only the trample of mankind’s emotion but also the self oppression of mankind’s emotion, they all represent the same characteristic about the widespread predicament of the mankind’s emotion. The destiny of the“banishment”of mankind for generations and the predicament of mankind’s emotion caused by it, cause the whole mankind’s existence manifest a kind of infatuation and depression.
Bai Xianyong looks over the plight of human existence in his novels through the rigid“Death”describes and meditation。On one hand, His“death”especially shows the emptiness of human existence, on the other hand, he makes efforts to regain the meaning of life in the“death”. He has placed the hope of rebirth in the“death”:The spirit of the kernel - the rebirth feelings and ideals rebirth in the physical death.
Bai Xianyong is a tragedy novelist who specializes in the description of "death". In his world of perplexed and clinging“tragedy”which is full of pain and sufferings and appetence, the "death" became a necessary part In his novel. Mr. White dose not regard“death”as the adjunct of tragedy purely or the necessity of configuration design of tragedy. On the contrary, here, the "death" becomes the origin of the whole shoot about thinking, and becomes the reason and the foundation that he sets up the world of“tragedy”. The contemplation of "death" in Mr. White’s novel is a fulcrum that he closes to the existent deep end of humankind.
In his novels Bai Xianyong persists in expressing and thinking toward "death" which is not irrelevant in his life experience. His growth experience is also the process of precipitation about the consciousness of“death”in his mind. Since birth, he has been feeling the oppression of death. The ancient and gray big rooms, the fearful ghost story told by his fetishistic aunt, and the bricklayer who is bombed into crush near the fish pond side, which like a seed of“death”embedded in Bai Xianyong’s young and small mind. The experience of sickness in Chongqing made the young have more impressible cognition of death. After that, though several times of desertion and migration, Bai Xianyong also discerned the great changes of Chinese society, saw much more separation in life or deaths, experienced the separation of close relatives and the ruin of family, a series of life change, and felt the impermanence of life together with huge strength of death. However, in his early novels, concerning the thinking of "death", which depositing in his mind towards the consciousness of“death”was shown naturally and unconsciously, also can't guide him to the answer that he has been being investigating all the time. The death of his mother urged him to think more seriously and self-consciously about death. His mother’s death made him think deeply and recognize more thoroughly on death and survive. Bai Xianyong realized the thing that death is inevitable and common destiny of humankind. And it is the same way of home to human. The idea that“death is the essence characteristic of human existence" which he investigates perseveringly in his thought, emerged gradually and clearly in his mind, and is the subject which expressed insistently in his literature creations.
Since Bai Xianyong engaged in literature creations,he cann’t help choosing to write tragedy and“death”.In the novels which were written in the early stage ,“death”became the major object to write.After two years of keeping silent,in《The Death Of Chicago》written in 1964,Bai Xianyong’thinking and expressing about“death”became more mature and profound.After this Bai Xianyong wtote 22 short stories and unique river novel《Crystal Boys》also inherited the thinking and searching of the“death”.Making a comprehensive view of 22 short stories and unique river novel《Crystal Boys》which had been telling of“death”,“death”impenetrated varied crowd’lives,had become a necessary part of existence of human being . The“death”is the finale of the tragic dramatis personaes;or a inducement that would bring about“alive”people to pain ; or a witness of huge change of the world and times; or a window to oversee the politics status of the china ; even a“background”to the living of human being . In the other 12 short stories , although there are not the depiction of“death”, there are many“death” wording ,or entire chapter flowed the current liking the death . The“death”in these 12 short stories ,mostly are the death of the sensibilities and idealities when human being are living perplexedly and clingingly. In the meantime,Bai Xianyong is also a sensitive and meticulous relater of the“death”. In the novels, he not only describes a great deal of scenes of the death directly, but also uses many imagoes of symbol of the death to complete his thinking about“death”. First, Bai Xianyong molds many person images which have the symbol meaning of the "death". These person images are the incarnations of the death , or the lure that Azrael intercalates in the world , allure the persons to plunge into the traps of the death . Second , he uses colors to symbolize the death . Bai Xianyong likes to use“red”and“white”to symbolize the death .“Red”represents bleeding and death ,but Bai Xianyong most emphasizes particularly on“contrast”’s using of the“red”symbolizing happiness and gladness to represent the inescapability of the death and impermanence of the life . The“white”is the color which symbolizes“death”in traditional culture in China.. In the novels of Bai Xianyong ,“white”not only appears in the“death”Scenes , but also indicates the coming of the death .Besides, he also uses“rain”and“snow”belong to the spectrum of the“white”. The using of the symbolic imagoes like direct describing is serving for the thinking and expressing for“Death is essential character of the living of human being”.
Bai Xianyong, in the description of“death”, with regard to the thinking of death and the persistent expression of“the death is the essence characteristic of mankind”, coming from the repeating thought and consideration to the existing circumstances of humankind. The understanding of“the death is the essence characteristic of human existence”, which urge his drawing to extend through the“existence essence”of humankind’s themselves -“the puzzlement and depression of human existence”. Two aspects are reflected. First of all, it is the existent state of mankind who are exiled. The mankind have right to“living”and also own the essence characteristic of“deanth”. The death would send people’s natural life in exile. At the same time mankind is suffering the exile of human themselves. The banishment of mankind result from the banishment of natural life which lead to another form of humankind’s exile that is inevitable. The oppression of“death”urges mankind to express persistence of“living”. In the process of searching for something“exist”that is eternal, those criterions and prescriptions made by human themselves extruded the existence of human, also restricted the development of human, threw mankind into a kind of more delusive banishment. The mankind's self-imposed exile in essence is because of the inroad on human made by culture leading to banishment. Therefore, in the novels of Bai Xianyong, Chinese lived abroad and people yearned for home of china who flee from a calamity of mainland to Taiwan, are suffering the dual banishment,“domestic country”and“foreign country”, in the embarrassed civilization. Prostitute and homosexuality hesitate on the edge of society in the extrusion of mainstream society. Just as death is the essence characteristic that the mankind exist, the natural life evolved from death and mankind’s self banishment are also an essence characteristics of mankind. Imperceptibly and inexorably a supernatural strength, usually called it“destiny”habitually, dominates the mankind, making the mankind sink into larger“banishment”between“exile”and get away from the“banishment”. Secondly, it is the mankind's affective widespread predicament. In Bai Xiayong’s novel the exhibition of the widespread predicament of mankind emotion is to inherit the consideration and the attention to the essence existence --banishment of human’s life. The essence and original reason of the corner in mankind’s emotion is death -- the banishment of the natural life. In the meantime, the mankind's self-imposed exile also caused the alienation of mankind’s emotion. Interpersonal alienation and diaphragm caused the mankind sink into a widespread predicament on the emotion. The prevalent emotion predicament of humankind in Bai Xianyong’s novel is mainly divided into two kinds of forms: trample of mankind’s fine emotion and the self oppression of mankind. They depend on each other, the trample of mankind’s fine emotion is the direct cause of the self oppression of mankind. In the novel of Bai Xianyong, not only the trample of mankind’s emotion but also the self oppression of mankind’s emotion, they all represent the same characteristic about the widespread predicament of the mankind’s emotion. The destiny of the“banishment”of mankind for generations and the predicament of mankind’s emotion caused by it, cause the whole mankind’s existence manifest a kind of infatuation and depression.
Bai Xianyong looks over the plight of human existence in his novels through the rigid“Death”describes and meditation。On one hand, His“death”especially shows the emptiness of human existence, on the other hand, he makes efforts to regain the meaning of life in the“death”. He has placed the hope of rebirth in the“death”:The spirit of the kernel - the rebirth feelings and ideals rebirth in the physical death.
引文
[1] 刘俊:《背悯情怀——白先勇评传·序言》,广州:花城出版社,2001,1 页。
[2] 王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,29 页。
[3] 王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,30 页。
[4]王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,31 页。
[5][6]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,302 页。
[7]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,307 页。
[8]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,308 页。
[9] [德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006,282 页。
[10][德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006: 276 页。
[11]陆扬:《死亡美学》,北京:北京大学出版社,2006,114 页。
[12]白先勇:《青春》,《白先勇自选集》,广州:花城出版社,1996,62页。
[13]白先勇:《青春》,《白先勇自选集》,广州:花城出版社,1996,65页。
[14]白先勇:《那片血一般红的杜鹃花》,《白先勇自选集》,广州:花城出版社,1996,185 页。
[15]白先勇:《永远的尹雪艳》,《白先勇自选集》,广州:花城出版社,1996,131 页。
[16]白先勇:《金大奶奶》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,13 页。
[17]白先勇:《永远的尹雪艳》,《白先勇自选集》,广州:花城出版社,1996,137 页。
[18]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,113页。
[19]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,115页。
[20]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,123页。
[21]白先勇:《玉卿嫂》,《白先勇自选集》,广州:花城出版社,1996,49页。
[22]白先勇:《月梦》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,58 页。
[23][24] 刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,163 页。
[25][德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006,288 页。
[26]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,161页。
[27]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,179页。
[28]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,192页。
[29]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,193页。
[30][31] 白先勇:《安乐乡的一日》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,237 页。
[32]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,203页。
[33]白先勇:《芝加哥之死》,《白先勇自选集》,广州:花城出版社,1996,98 页
[34]白先勇:《芝加哥之死》,《白先勇自选集》,广州:花城出版社,1996,100 页。
[35]欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,199 页。
[36]欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,197 页。
[37]白先勇:《孽子》,哈尔滨:北方文艺出版社,1987,3 页。
[38]白先勇:《孽子》,哈尔滨:北方文艺出版社,1987,18 页。
[39][40]白先勇:《金大班的最后一夜》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,58 页。
[41]白先勇:《闷雷》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,29 页。
[42][43] 白先勇:《藏在裤袋里的手》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,145 页。
[44]白先勇:《藏在裤袋里的手》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,154 页。
[45]转引自白先勇:《芝加哥之死》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,211 页。
[46]鲁迅:《野草·题词》,《鲁迅散文:插图珍藏版》,北京:人民文学出版社,2006,259 页。
1.白先勇:《白先勇文集》第 1 卷·《寂寞的十七岁》,花城出版社,2000年。
2.白先勇:《白先勇文集》第 2 卷·《台北人》,花城出版社,2000 年。
3.白先勇:《白先勇文集》第 3 卷·《孽子》,花城出版社,2000 年。
4.白先勇:《白先勇文集》第 4 卷·《第六只手指》,花城出版社,2000 年。
5.白先勇:《白先勇自选集》,花城出版社,1996 年。
6.刘 俊:《悲悯情怀——白先勇评传》,花城出版社,2000 年。
7.欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000 年。
8.白先勇:《白先勇精选集》,北京燕山出版社,2006 年。
9.白先勇:《白先勇短篇小说集》,福建人民出版社,1982 年。
10.白先勇:《首届北京文学节获奖作家作品精选集白先勇卷》,同心出版社,2005 年。
11.王玲玲、徐浮明 :《最后的贵族——白先勇传》,团结出版社,2001年。
12.[德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006 年。
13.陆扬:《死亡美学》,北京:北京大学出版社,2006 年。
1.刘超 :《“认同危机”与白先勇的文学创作》,《世界华文文学论坛》,2006年第 2 期。
2.张文鹏:《白先勇〈谪仙记〉中的命运意识》,《陕西师范大学继续教育学报》,2005 年第 22 卷增刊。
3.刘俊:《白先勇研究在大陆:1979-2000》,《华文文学》,2001 年第 1 期。
4.薛忠文:《被放逐者的哀歌:白先勇域外题材小说的创作》,《广西社会科学》,2004 年第 3 期。
5.周佩瑶:《疏离与隔膜—中西文化冲突下的<纽约客>》,《华文文学》,2006年第 1 期。
6.刘俊:《以残缺的爱为视域揭示人类情感的困境》,《南京大学学报(哲学·人文·社会科学)》,1995 年第 2 期。
7.王瑞华:《中国文化的悲剧意蕴—评白先勇的悲剧观》,《海外华文文学研究》,2000 年第 4 期。
[2] 王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,29 页。
[3] 王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,30 页。
[4]王玲玲、徐浮明:《最后的贵族——白先勇传》,北京:团结出版社,2001,31 页。
[5][6]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,302 页。
[7]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,307 页。
[8]白先勇:《蓦然回首》,《白先勇自选集》,广州:花城出版社,1996,308 页。
[9] [德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006,282 页。
[10][德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006: 276 页。
[11]陆扬:《死亡美学》,北京:北京大学出版社,2006,114 页。
[12]白先勇:《青春》,《白先勇自选集》,广州:花城出版社,1996,62页。
[13]白先勇:《青春》,《白先勇自选集》,广州:花城出版社,1996,65页。
[14]白先勇:《那片血一般红的杜鹃花》,《白先勇自选集》,广州:花城出版社,1996,185 页。
[15]白先勇:《永远的尹雪艳》,《白先勇自选集》,广州:花城出版社,1996,131 页。
[16]白先勇:《金大奶奶》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,13 页。
[17]白先勇:《永远的尹雪艳》,《白先勇自选集》,广州:花城出版社,1996,137 页。
[18]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,113页。
[19]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,115页。
[20]白先勇:《谪仙记》,《白先勇自选集》,广州:花城出版社,1996,123页。
[21]白先勇:《玉卿嫂》,《白先勇自选集》,广州:花城出版社,1996,49页。
[22]白先勇:《月梦》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,58 页。
[23][24] 刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,163 页。
[25][德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006,288 页。
[26]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,161页。
[27]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,179页。
[28]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,192页。
[29]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,193页。
[30][31] 白先勇:《安乐乡的一日》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,237 页。
[32]刘俊:《背悯情怀——白先勇评传》,广州:花城出版社,2001,203页。
[33]白先勇:《芝加哥之死》,《白先勇自选集》,广州:花城出版社,1996,98 页
[34]白先勇:《芝加哥之死》,《白先勇自选集》,广州:花城出版社,1996,100 页。
[35]欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,199 页。
[36]欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,197 页。
[37]白先勇:《孽子》,哈尔滨:北方文艺出版社,1987,3 页。
[38]白先勇:《孽子》,哈尔滨:北方文艺出版社,1987,18 页。
[39][40]白先勇:《金大班的最后一夜》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000,58 页。
[41]白先勇:《闷雷》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,29 页。
[42][43] 白先勇:《藏在裤袋里的手》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,145 页。
[44]白先勇:《藏在裤袋里的手》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,154 页。
[45]转引自白先勇:《芝加哥之死》,《白先勇文集第 1 卷:寂寞的十七岁》,广州:花城出版社,2000,211 页。
[46]鲁迅:《野草·题词》,《鲁迅散文:插图珍藏版》,北京:人民文学出版社,2006,259 页。
1.白先勇:《白先勇文集》第 1 卷·《寂寞的十七岁》,花城出版社,2000年。
2.白先勇:《白先勇文集》第 2 卷·《台北人》,花城出版社,2000 年。
3.白先勇:《白先勇文集》第 3 卷·《孽子》,花城出版社,2000 年。
4.白先勇:《白先勇文集》第 4 卷·《第六只手指》,花城出版社,2000 年。
5.白先勇:《白先勇自选集》,花城出版社,1996 年。
6.刘 俊:《悲悯情怀——白先勇评传》,花城出版社,2000 年。
7.欧阳子:《王谢堂前的燕子》,《白先勇文集第 2 卷:台北人》,广州:花城出版社,2000 年。
8.白先勇:《白先勇精选集》,北京燕山出版社,2006 年。
9.白先勇:《白先勇短篇小说集》,福建人民出版社,1982 年。
10.白先勇:《首届北京文学节获奖作家作品精选集白先勇卷》,同心出版社,2005 年。
11.王玲玲、徐浮明 :《最后的贵族——白先勇传》,团结出版社,2001年。
12.[德]马丁·海德格尔:《存在与时间》,北京:生活·读书·新知三联出版社,2006 年。
13.陆扬:《死亡美学》,北京:北京大学出版社,2006 年。
1.刘超 :《“认同危机”与白先勇的文学创作》,《世界华文文学论坛》,2006年第 2 期。
2.张文鹏:《白先勇〈谪仙记〉中的命运意识》,《陕西师范大学继续教育学报》,2005 年第 22 卷增刊。
3.刘俊:《白先勇研究在大陆:1979-2000》,《华文文学》,2001 年第 1 期。
4.薛忠文:《被放逐者的哀歌:白先勇域外题材小说的创作》,《广西社会科学》,2004 年第 3 期。
5.周佩瑶:《疏离与隔膜—中西文化冲突下的<纽约客>》,《华文文学》,2006年第 1 期。
6.刘俊:《以残缺的爱为视域揭示人类情感的困境》,《南京大学学报(哲学·人文·社会科学)》,1995 年第 2 期。
7.王瑞华:《中国文化的悲剧意蕴—评白先勇的悲剧观》,《海外华文文学研究》,2000 年第 4 期。