挣扎在爱与痛的边缘
摘要
盛可以是一个后起的女作家,刚一出道便成为当代文坛不可忽视的存在。2002年开始,她陆续在《收获》、《花城》、《钟山》、《芙蓉》等刊物上发表小说近百万字。2003年荣获首届华语文学传媒大奖最具潜力新人奖。2004年曾荣登2004年中国小说排行榜。现供职于广东作家协会。
在当代女作家创作中,婚姻伦理是被反复表现、反复探讨的主题,由于作家生活经历与其所接受的文化资源的不同,她们的创作也相应的体现出不同的风格与气质。盛可以的创作风格冷酷突兀,语言泼辣大胆,修辞张狂不羁,善用比喻,常常借助跳跃大胆的通感手法将读者带入她所精心营造的世界,其丰富的语言和转换自如的人称表达使其叙事呈现多元化特征。
盛可以小说特别关注边缘女性的生存状态,比如面临生存压力的农村打工女性和面临婚恋压力的城市先锋女性等。她笔下的人物大都具有独立的生存意识,渴望爱情却不依附于男性,向往婚姻更忠实于身体的欲望。她们追求过、奋斗过,但又不得不在以男性为中心的社会中沉沦。盛可以从不同视角透视了她们的生存状态,着重揭示了她们在婚恋问题上的悲剧命运,并将其原因概括为社会生存压力、传统道德观念的束缚和男女性别角色的差异等诸多方面。
在短短几年的时间里,盛可以的小说创作取得了令人瞩目的成绩,但也还存在着一些不足:情节设计有些雷同,人物塑造上往往比较关注与自己有相似经历的女性,涉猎面较窄。作品语言略显暴露和粗俗,这些赤裸的、不加掩饰的、暴力的语言,使得小说更多的呈现出欲望的释放而遮避了思考的深度。
The leading characters of Sheng Keyi’s novels are female. The novels describe the heroines’affection, marriage, ethic, existence and dignity, which show how they have sough for their ideal and true value of life. Her works include affection, sex, marriage and psychology, ranging from city to countryside, which reflect the lives of the verge women and their ideas variation in these aspects. Her writing is very unique. First, she has used very sharp and bold language, which is acute, vivid and deep in meaning. Second, The wide use of rhetorical devices illustrates she has got a solid foundation in literature. He fluent use of metaphor has enhaced the powerof words. Besides, she has used various narrations to show the rich material and spiritual lives of the female from many angles. Her writing syles are different from those of Zongpu’s, Wanganyi’s, Tieming’s, whose languages are polished again and again. The writing styles also differ from those of beautiful-woman writers’, such as Weihui’s, Mianmian’s and Annie’s in which we can see indolence, groan and narcissism.The language in Sheng Keyi’s novels do not behave in a fit and proper way. It is direct rather than anbiguous, which goes to the depth of females’lives. Her language is either direct or even rude, which can bring excitement to readers. From this, we can see not alll females writers have adopted speaking in a deductive tone. Her novesl illustrates a kind of anti-traditon, in which the uprising language has been used to be against the imprisonment to women in paternal society.
The theme of Sheng Keyi’s novesl is the contraditon in affection, marriage, eixtence and ethics. This has shown a colorful picture of human beings. The words that are used to disclose human’s weakness including greed, emptaion, lust, fraud and hypocracy often occur to readers’eyes, which reflects the genuine of life and gives people alarm, conscience and self-discipline. Comparing with life, the nobility of love cannot keep up with up the material benefit of bread. Love is only a seasoning to life. If we want to live, we cannot seek for love and vice versa. Marriage is a grave to love rather than a destination. This is because of a man has paramour, it shows that he is very successful. What is more, divorce is excellent performance for male. Female’s tenderness and fragility of spirit has led them to the victims of this struggle. Her novels are filled with a feeling of desprie. The heroines of hers are like the kites stuck with the stress of society, ethics and sex, wh have gone through. The followit stages, such as the single life without love, the release of love, the indlgement in love, the strange circle of marriage and the fatigue of feelign. All this leads to illusion. ultimately The reasons are the following. First, women have to face difficulties in the society. They are inferior to men in social status. Therefor they have more pressure not only in econmy but also in spiritual life. By narratin the basic desire of human beings to this society, the author describes the inward spititual life of female, reveals the harmed feeling and their difficulties in life. Her works also demonstrate women’s sub-healthy psychological mind. They long for self-liberation but they are deeeply hurt in their minds. Second, no mattter how the society has changed.,ethics should still be the standard that everyone should obey. But in reality, love is dipped in lust and desire for material. Marriage is added to the chaos of husband, wife and the lover. It is believed that peiole long for sex before mariage and responsibility after that. Everythig has lost it nature. Finally, when some modern women try to break through the bound of the sociey, they are not accepted wholly. Therefore, these women pioneers have to have dual burdens from life an society. In fact, women cannot abandon the obedience and submission to men that usefd to work in the old tradition. Because of this, no matter how many efforts these women have made, thye cannot get equal rights as men do. In a word, they are inferior in position in this society, suffering from inability and harm.
Taking Sheng Keyi’s novels as a whole, it has some limitations in spite of a series of clear female figures described. The main demerits are the assimilated description of charaters, the exposed use of language and the similar decriptons in plot design. On one hand, the description of character’s changing minds is not enough. Some charaters like to display themselves but very rough in their mind, which are not in accordance with female characeristics. On the other, these female characters’identities are closely related to th author’s ecperirence. It seems that they are the author’s embodiment. Aditionally, the langauge is exposed and vulgar, which is helpful to enhace the ideaology of the article. If things go further, the exposed language may make people feel astonished and then ignore the content of the author. Apart from this, designs in plots are similar. The main characters are all modern women who have been entangled with feelings and wanted to go back to their marriage and can not reach their destination.
To sum it up. Sheny Keyi is against the society with her work. She fights for female dignity, lofty affeciton, perfect marriage and morality. The writing gets rid of body written routine that brought out dipassion and abstruse. She writes to different female taste. It reveals betweeen the lines the uncork catharsis, inevitable injury and unwilling to accept timeserving effective. Her work has shown a kind of effective self-consciousness and has had a deep impression on the readers.
在当代女作家创作中,婚姻伦理是被反复表现、反复探讨的主题,由于作家生活经历与其所接受的文化资源的不同,她们的创作也相应的体现出不同的风格与气质。盛可以的创作风格冷酷突兀,语言泼辣大胆,修辞张狂不羁,善用比喻,常常借助跳跃大胆的通感手法将读者带入她所精心营造的世界,其丰富的语言和转换自如的人称表达使其叙事呈现多元化特征。
盛可以小说特别关注边缘女性的生存状态,比如面临生存压力的农村打工女性和面临婚恋压力的城市先锋女性等。她笔下的人物大都具有独立的生存意识,渴望爱情却不依附于男性,向往婚姻更忠实于身体的欲望。她们追求过、奋斗过,但又不得不在以男性为中心的社会中沉沦。盛可以从不同视角透视了她们的生存状态,着重揭示了她们在婚恋问题上的悲剧命运,并将其原因概括为社会生存压力、传统道德观念的束缚和男女性别角色的差异等诸多方面。
在短短几年的时间里,盛可以的小说创作取得了令人瞩目的成绩,但也还存在着一些不足:情节设计有些雷同,人物塑造上往往比较关注与自己有相似经历的女性,涉猎面较窄。作品语言略显暴露和粗俗,这些赤裸的、不加掩饰的、暴力的语言,使得小说更多的呈现出欲望的释放而遮避了思考的深度。
The leading characters of Sheng Keyi’s novels are female. The novels describe the heroines’affection, marriage, ethic, existence and dignity, which show how they have sough for their ideal and true value of life. Her works include affection, sex, marriage and psychology, ranging from city to countryside, which reflect the lives of the verge women and their ideas variation in these aspects. Her writing is very unique. First, she has used very sharp and bold language, which is acute, vivid and deep in meaning. Second, The wide use of rhetorical devices illustrates she has got a solid foundation in literature. He fluent use of metaphor has enhaced the powerof words. Besides, she has used various narrations to show the rich material and spiritual lives of the female from many angles. Her writing syles are different from those of Zongpu’s, Wanganyi’s, Tieming’s, whose languages are polished again and again. The writing styles also differ from those of beautiful-woman writers’, such as Weihui’s, Mianmian’s and Annie’s in which we can see indolence, groan and narcissism.The language in Sheng Keyi’s novels do not behave in a fit and proper way. It is direct rather than anbiguous, which goes to the depth of females’lives. Her language is either direct or even rude, which can bring excitement to readers. From this, we can see not alll females writers have adopted speaking in a deductive tone. Her novesl illustrates a kind of anti-traditon, in which the uprising language has been used to be against the imprisonment to women in paternal society.
The theme of Sheng Keyi’s novesl is the contraditon in affection, marriage, eixtence and ethics. This has shown a colorful picture of human beings. The words that are used to disclose human’s weakness including greed, emptaion, lust, fraud and hypocracy often occur to readers’eyes, which reflects the genuine of life and gives people alarm, conscience and self-discipline. Comparing with life, the nobility of love cannot keep up with up the material benefit of bread. Love is only a seasoning to life. If we want to live, we cannot seek for love and vice versa. Marriage is a grave to love rather than a destination. This is because of a man has paramour, it shows that he is very successful. What is more, divorce is excellent performance for male. Female’s tenderness and fragility of spirit has led them to the victims of this struggle. Her novels are filled with a feeling of desprie. The heroines of hers are like the kites stuck with the stress of society, ethics and sex, wh have gone through. The followit stages, such as the single life without love, the release of love, the indlgement in love, the strange circle of marriage and the fatigue of feelign. All this leads to illusion. ultimately The reasons are the following. First, women have to face difficulties in the society. They are inferior to men in social status. Therefor they have more pressure not only in econmy but also in spiritual life. By narratin the basic desire of human beings to this society, the author describes the inward spititual life of female, reveals the harmed feeling and their difficulties in life. Her works also demonstrate women’s sub-healthy psychological mind. They long for self-liberation but they are deeeply hurt in their minds. Second, no mattter how the society has changed.,ethics should still be the standard that everyone should obey. But in reality, love is dipped in lust and desire for material. Marriage is added to the chaos of husband, wife and the lover. It is believed that peiole long for sex before mariage and responsibility after that. Everythig has lost it nature. Finally, when some modern women try to break through the bound of the sociey, they are not accepted wholly. Therefore, these women pioneers have to have dual burdens from life an society. In fact, women cannot abandon the obedience and submission to men that usefd to work in the old tradition. Because of this, no matter how many efforts these women have made, thye cannot get equal rights as men do. In a word, they are inferior in position in this society, suffering from inability and harm.
Taking Sheng Keyi’s novels as a whole, it has some limitations in spite of a series of clear female figures described. The main demerits are the assimilated description of charaters, the exposed use of language and the similar decriptons in plot design. On one hand, the description of character’s changing minds is not enough. Some charaters like to display themselves but very rough in their mind, which are not in accordance with female characeristics. On the other, these female characters’identities are closely related to th author’s ecperirence. It seems that they are the author’s embodiment. Aditionally, the langauge is exposed and vulgar, which is helpful to enhace the ideaology of the article. If things go further, the exposed language may make people feel astonished and then ignore the content of the author. Apart from this, designs in plots are similar. The main characters are all modern women who have been entangled with feelings and wanted to go back to their marriage and can not reach their destination.
To sum it up. Sheny Keyi is against the society with her work. She fights for female dignity, lofty affeciton, perfect marriage and morality. The writing gets rid of body written routine that brought out dipassion and abstruse. She writes to different female taste. It reveals betweeen the lines the uncork catharsis, inevitable injury and unwilling to accept timeserving effective. Her work has shown a kind of effective self-consciousness and has had a deep impression on the readers.
引文
[1]华语文学传媒大奖 2002 年度最具潜力新人奖得主:盛可以授奖词[N].南方都市报.2003-4-18.
[2][3]《北妹》底层女性生死书[N]北京青年周刊.2004-6-15.
[4][5] 盛可以.火宅[M].沈阳:春风文艺出版社.2003.77.73.
[6]盛可以:快感[J].芙蓉.2002(4).
[7] 盛可以.turn on[J].名作欣赏.2003(11).
[8] 盛可以: 让语言站起来[N].姑苏晚报.2003-3-5..
[9]盛可以.惟愿中年丧妻[J].花城.2003(4).
[10][11][14][15] 盛 可 以 . 道 德 颂 [M]. 上 海 : 上 海 文 艺 出 版社.2007.36.21.21.6.
[12]李修文.盛可以在她的时代里.南方文坛.2003 年(5).33.
[13]盛可以.无爱一身轻[J].今天.2004(1).
[16][17]盛可以.手术[J]. 名作欣赏:鉴赏版.2004(9).29.35
[18]赵明宇.女作家盛可以婚恋小说探讨当代人道德体验[N].北京娱乐信息报.2007-3-7.
[19][20] 盛 . 可 以 等 . 盛 可 以 小 说 创 作 对 谈 录 [J]. 河 池 学 院 学报.2005(6).72.73.
[21]吴笑欢.婚恋悖论的探究——解读盛可以《手术》[J].《名作欣赏》2005(3).87.
1.啜大鹏.女性学[M].北京:中国工程出版社.2001.
2.郭爱妹.女性主义心理学[M].上海:上海教育出版社.2006.
3.李银河.女性权力的崛起[M]. 北京:北京文化艺术出版社.2003.
4.强海燕.性别差别与教育[M].西安:陕西人民教育出版社.2000.
5.盛可以.北妹[M].武昌:长江文艺出版社.2004.
6.盛可以.道德颂[M].上海:上海文艺出版社.2007.
7.盛可以.火宅[M].沈阳:春风文艺出版社.2003.
8.盛可以.无爱一身轻[M].北京:作家出版社.2005.
9.张海钟.现代女性心理学导论[M].北京:中国档案出版社.2007.
1.邓国军.谁能承受无爱之轻——评盛可以长篇小说《无爱一身轻》[J].当代文坛.2007(2).
2.金理.呈现心灵的悸动——以盛可以的《道德颂》为例[J].小说评论.2007(2).
3.柯贵文.一份“炮礼时代”的婚恋心理标本——评盛可以的小说《手术》[J].名作欣赏(鉴赏版).2005(3).
4.李敬泽.“我”或“我们”——《道德颂》的叙述者[J].当代文坛.2007(2).
5.李欣.爱还是不爱,这是个问题——评盛可以《取暖运动》[J].当代文坛.2004(5).
6.李修文.盛可以在她的时代里[J].南方文坛.2003(5).
7.孟繁华.一部浪漫主义的成长小说——评盛可以的长篇小说《北妹》. http://www.ilf.cn/Art_Show.asp?ArtID=3522 2.
8.盛可以.水乳[J].收获.2002(秋冬卷).
9.盛可以.惟愿中年丧妻[J].花城.2003(4).
10.盛可以.手术[J].天涯.2003 年第 5 期
11.盛可以.取暖运动[J].芙蓉.2004 年第 2 期
12.盛可以.快感[J].芙蓉.2004 年第 4 期
13.盛可以等.盛可以小说创作对谈录[J].河池学院学报.2005(6).
14.盛可以.心藏小恶[J].上海文学.2005(3).
15.谭五昌.审美的偏移——盛可以小说之我见[J].当代文坛.2007(2).
16.王秀芹.女性写实主义的回归[J].名作欣赏(下半月).2006(10).
17.汪政,徐晓华.小说在谁手里成为刀子——谈盛可以的短篇小说[J].当代文坛.2007 年第 2 期
18.吴笑欢.婚恋悖论的探究——解读盛可以《手术》[J].名作欣赏(鉴赏版).2005(3).
19.杨爱芹.浅谈盛可以小说的女性意识[J].创作评谭.2006(4).
20.赵明宇.女作家盛可以婚恋小说探讨当代人道德体验[N].北京娱乐信息报.2007-3-7.
[2][3]《北妹》底层女性生死书[N]北京青年周刊.2004-6-15.
[4][5] 盛可以.火宅[M].沈阳:春风文艺出版社.2003.77.73.
[6]盛可以:快感[J].芙蓉.2002(4).
[7] 盛可以.turn on[J].名作欣赏.2003(11).
[8] 盛可以: 让语言站起来[N].姑苏晚报.2003-3-5..
[9]盛可以.惟愿中年丧妻[J].花城.2003(4).
[10][11][14][15] 盛 可 以 . 道 德 颂 [M]. 上 海 : 上 海 文 艺 出 版社.2007.36.21.21.6.
[12]李修文.盛可以在她的时代里.南方文坛.2003 年(5).33.
[13]盛可以.无爱一身轻[J].今天.2004(1).
[16][17]盛可以.手术[J]. 名作欣赏:鉴赏版.2004(9).29.35
[18]赵明宇.女作家盛可以婚恋小说探讨当代人道德体验[N].北京娱乐信息报.2007-3-7.
[19][20] 盛 . 可 以 等 . 盛 可 以 小 说 创 作 对 谈 录 [J]. 河 池 学 院 学报.2005(6).72.73.
[21]吴笑欢.婚恋悖论的探究——解读盛可以《手术》[J].《名作欣赏》2005(3).87.
1.啜大鹏.女性学[M].北京:中国工程出版社.2001.
2.郭爱妹.女性主义心理学[M].上海:上海教育出版社.2006.
3.李银河.女性权力的崛起[M]. 北京:北京文化艺术出版社.2003.
4.强海燕.性别差别与教育[M].西安:陕西人民教育出版社.2000.
5.盛可以.北妹[M].武昌:长江文艺出版社.2004.
6.盛可以.道德颂[M].上海:上海文艺出版社.2007.
7.盛可以.火宅[M].沈阳:春风文艺出版社.2003.
8.盛可以.无爱一身轻[M].北京:作家出版社.2005.
9.张海钟.现代女性心理学导论[M].北京:中国档案出版社.2007.
1.邓国军.谁能承受无爱之轻——评盛可以长篇小说《无爱一身轻》[J].当代文坛.2007(2).
2.金理.呈现心灵的悸动——以盛可以的《道德颂》为例[J].小说评论.2007(2).
3.柯贵文.一份“炮礼时代”的婚恋心理标本——评盛可以的小说《手术》[J].名作欣赏(鉴赏版).2005(3).
4.李敬泽.“我”或“我们”——《道德颂》的叙述者[J].当代文坛.2007(2).
5.李欣.爱还是不爱,这是个问题——评盛可以《取暖运动》[J].当代文坛.2004(5).
6.李修文.盛可以在她的时代里[J].南方文坛.2003(5).
7.孟繁华.一部浪漫主义的成长小说——评盛可以的长篇小说《北妹》. http://www.ilf.cn/Art_Show.asp?ArtID=3522 2.
8.盛可以.水乳[J].收获.2002(秋冬卷).
9.盛可以.惟愿中年丧妻[J].花城.2003(4).
10.盛可以.手术[J].天涯.2003 年第 5 期
11.盛可以.取暖运动[J].芙蓉.2004 年第 2 期
12.盛可以.快感[J].芙蓉.2004 年第 4 期
13.盛可以等.盛可以小说创作对谈录[J].河池学院学报.2005(6).
14.盛可以.心藏小恶[J].上海文学.2005(3).
15.谭五昌.审美的偏移——盛可以小说之我见[J].当代文坛.2007(2).
16.王秀芹.女性写实主义的回归[J].名作欣赏(下半月).2006(10).
17.汪政,徐晓华.小说在谁手里成为刀子——谈盛可以的短篇小说[J].当代文坛.2007 年第 2 期
18.吴笑欢.婚恋悖论的探究——解读盛可以《手术》[J].名作欣赏(鉴赏版).2005(3).
19.杨爱芹.浅谈盛可以小说的女性意识[J].创作评谭.2006(4).
20.赵明宇.女作家盛可以婚恋小说探讨当代人道德体验[N].北京娱乐信息报.2007-3-7.