阎连科小说的意象研究

发布时间：2018-05-15 08:55

本文选题：阎连科 + 小说　；参考：《广西师范学院》2017年硕士论文

【摘要】：蕴含着作家独特情感与思考的小说意象,对于深入认识理解作家作品具有重要的作用。在阎连科的众多小说中,反复多次出现的身体意象、疾病意象、死亡意象、梦意象、动植物意象、太阳意象是组成其小说世界的重要因子。其中,作为商品、农作物肥料、治病良药、食物的身体意象,是小说中处于极端环境与条件之下人们的唯一希望,并有着“身体即是苦难之源”的隐喻;残疾、性病、热病、喉堵症、痴傻症等繁杂严重的疾病意象,则直接而集中地展示了“在苦痛中煎熬”的底层民众们深重的苦难,并蕴含着作家对病态的乡村与城市的揭露和批判;尸体、棺材、葬礼、坟墓、亡灵等死亡意象,显示了乡土村民们对死亡的重视,隐喻了他们“向死而生,死即是生”的生死观;回忆之梦、预兆之梦、妄想之梦、救赎之梦等梦意象,是人物内心情感世界在其潜意识中的投影,隐喻了阎连科对现代化发展各种问题的隐忧;乌鸦和狗等动物意象,树与玉蜀黍等植物意象,是阎连科小说中不可或缺的自然物象,蕴含着“众生皆苦”的隐喻;普照四方,养育万物的太阳的意象,则隐喻了“永恒的希望与失望”。阎连科小说中反复出现的这些意象,并非完全是作家的凭空想象与随意构思,而与其生活经历和阅读经验密切相关。苦涩与疼痛的成长经历、神秘而独特的民间文化与外国文学的启示和开悟,共同给阎连科的意象书写带来深刻的影响。在对阎连科小说中主要的意象进行整体的分析与阐释时,我们发现:这些意象无不浸透着生存的苦水。深重的苦难将阎连科笔下的底层民众们置于绝望的境地之中。为了反抗令人绝望的命运,他们耗尽了自己的一切,但仍然无济于事。但是,在不断反抗绝望命运的过程中,这些民众们因对自身生命的珍视而获得了生命最大的意义。最终,命运只能将他们打伤打残却终于无法打败他们,这些反抗者的生命也因抗争而变得更加强韧,呈现出伟力的生命之美。除此之外,我们还发现:阎连科的众多意象及意象叙事具有神奇而荒诞的特征。通过对这些意象书写的进一步分析,使我们对于阎连科名为“神实主义”的小说创作理念与方法的形成过程有了较为清晰的认识与理解。我们认识到这些意象以及它们所构成的意象叙事,就是阎连科“神实主义”创作方法的具体实践。这些意象中所蕴含的一些“真相”与隐喻,实质上便是“神实主义”所要达到的最终目标:发现与揭示生活中那些“看不见的真实”与“被真实掩盖的真实”。作为阎连科小说的重要组成因子,意象及意象叙事推动着阎连科的小说从“神”之桥梁抵达“实”之彼岸。
[Abstract]:The novel image, which contains the writer's unique emotion and thinking, plays an important role in understanding the writer's works. Among Yan Lianke's novels, the body image, the disease image, the death image, the dream image, the animal and plant image and the sun image are the important factors that make up the world of his novels. Among them, as a commodity, crop fertilizer, cure medicine, body image of food, is the only hope of people under extreme circumstances and conditions in the novel, and has the metaphor of "body is the source of suffering"; disability, venereal disease, fever, etc. The images of complicated and serious diseases, such as laryngeal blockage and stupidity, directly and centrally show the deep suffering of the people at the bottom of "suffering in pain", and contain the writers' exposure and criticism of the sick villages and cities; corpses, coffins, The images of death, such as funeral, grave, and undead, show the importance attached to death by the villagers in the countryside. They symbolize their view of life and death, such as "living toward death, death is life"; dream of memory, dream of omen, dream of delusion, dream of redemption, dream of salvation, etc. It is the projection of characters' inner emotional world in their subconscious mind, which is a metaphor for Yan Lianke's worries about various problems in the development of modernization; the images of animals, such as crows and dogs, and plant images such as trees and corn, are indispensable natural images in Yan Lianke's novels. It contains the metaphor of "all living things are bitter", and the image of the sun, which nurtures all things, is a metaphor of "eternal hope and disappointment". These images, which appear repeatedly in Yan Lianke's novels, are not entirely the author's imagination and random conception, but are closely related to his life experience and reading experience. The growing experience of bitterness and pain, the enlightenment and enlightenment of mysterious and unique folk culture and foreign literature, together bring profound influence to Yan Lianke's image writing. In the analysis and interpretation of the main images in Yan Lianke's novels, we find that these images are permeated with the bitter water of existence. The deep suffering of Yan Lianke the bottom of the people in a desperate situation. They exhausted themselves against a desperate fate, but to no avail. But as they revolt against their desperate destiny, these people gain the most meaning for their own lives. In the end, fate only wounded and maimed them, but finally could not defeat them, and the lives of these rebels became stronger and more resilient as a result of the struggle, showing the beauty of life. In addition, we also find that Yan Lianke's many images and image narration have magical and absurd characteristics. Through the further analysis of the writing of these images, we have a clear understanding and understanding of the formation process of Yan Lianke's novel creation idea and method named "Shenzhenism". We realize that these images and their image narration are the concrete practice of Yan Lianke's "deity realism" writing method. Some "truth" and metaphors contained in these images are in essence the ultimate goal of "deity realism": to discover and reveal the "invisible reality" and "the truth concealed by the truth" in life. As an important component of Yan Lianke's novels, imagery and image narration push Yan Lianke's novels from the bridge of "God" to the other side of "reality".
【学位授予单位】：广西师范学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.42

【参考文献】