限知视角与限制叙事的小说范本——萧红《呼兰河传》再解读

发布时间：2018-06-29 22:19

本文选题：隐含作者 + 叙事结构　；参考：《华中师范大学学报(人文社会科学版)》2017年06期

【摘要】：《呼兰河传》是萧红最后的杰作,也是她文学和艺术上的巅峰之作,从隐含作者、叙事结构、情节性以及限制叙事的可能性,从童心与诗心的意向结构与非成人视角的叙事策略角度,以及如入化境的限制叙事——"我的人物比我高"的层面,可以发现《呼兰河传》的文学性以及其何以成为一部不朽小说的原因所在。《呼兰河传》小说主体层面是第一人称回顾性叙述,这一类型的叙述潜藏两种不同的叙事眼光:一是叙述者"我"从现在的角度追忆往事的眼光,二是被追忆的"我"过去正在经历事件时的眼光。《呼兰河传》兼具这两种叙事眼光,而且尤重第二种叙事眼光:既包括有儿童的非成人视角的叙事眼光,又包括固定人物的限制性视角和转换性人物有限视角。这都是隐含作者所采取的叙述行为和方式方法,是令原本缺乏因果链的小说能够情节性强、艺术真实感油然而生的重要原因,同时也令小说更加具备打动人心力量和具有丰沛的文学性。而最真实感人展现童年时家乡的一切、成功地运用儿童的非成人视角的叙事策略,还得益于萧红是一个童心与诗心兼具的作家,而且童年经验作为先在意向结构对她的创作尤其是后期"内观"与"自传体"特征的小说,产生了深远的影响。这第二种叙事眼光所包含的三种叙事视角,其实都在传达和体现萧红对小说学、小说写法的一种认知——"我的人物比我高",是萧红对小说文体的自觉和一种自觉的创作理念。
[Abstract]:The biography of the Hulan River is Xiao Hong's last masterpiece and one of her masterpieces in literature and art, in terms of implied authors, narrative structure, plot, and the possibility of limiting narrative. From the perspective of the intentional structure of childlike and poetic heart and the narrative strategy of non-adult perspective, as well as the restricted narrative of "my character is higher than me", as well as the restricted narrative of "my character is higher than me". It can be found that the literary character of Hulan River Biography and the reason why it became an immortal novel. There are two different narratives in this type of narration: one is the narrator's "I" vision of recalling the past from the perspective of the present. The second is the vision of the "I", who was experiencing events in the past. "the biography of the Hulan River" has both of these two narrative visions, and the second one is particularly important: the narrative vision that includes a non-adult perspective with a child's perspective. It also includes restricted visual angle of fixed character and limited angle of view of transforming character. These are all the narration behaviors and methods adopted by the implied writers, and are the important reasons why the original fictions lacking causality chain can have a strong plot and a sense of artistic reality. At the same time, it also makes the novel more powerful and rich in literature. And the most true and touching show of everything in childhood home, the successful use of children's non-adult perspective of narrative strategies, but also thanks to Xiao Hong is a child and poetic heart of the writer, Moreover, childhood experience, as a structure of intention, has exerted a profound influence on her novels, especially on the features of "introspection" and "autobiographical" in her later works. The three narrative perspectives contained in this second narrative vision are in fact conveying and embodying Xiao Hong's cognition of fictionalism and novel writing-"my characters are higher than me", which is Xiao Hong's consciousness of the style of fiction and a conscious creative idea.
【作者单位】：中国社会科学院文学研究所;
【基金】：国家社会科学基金项目“新世纪海外华文作家的中国叙事研究”(17BZW171)
【分类号】：I207.425

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