《极花》乡村叙事的空间向度

发布时间：2018-05-19 13:30

  本文选题：《极花》 + 乡村叙事　； 参考：《重庆邮电大学学报(社会科学版)》2017年05期

【摘要】：贾平凹作品《极花》是一个具有空间向度的叙事文本。作家在妇女被拐的表层叙事下面绘制了当下农村生态破坏、民生凋敝、文化失范等现实图景,构建起经济结构和政治文化相互交织的乡村社会空间形态。《极花》以胡蝶身体作为叙事话语,将其身心的摧残、撕裂、修复叙述成传统权力和现代法则对女性身体的深入干预和深度观照,以此实现精神哲学的理性反思。同时通过交织、分割、反复等方式,将极花、血葱、石头、星象等叙事意象与故事演绎混合推进,营构出"水墨"与"现实"兼具的"水墨空间",扩大了传统意象的内涵和容量,将小说推向了形而上层面,也让《极花》的空间建构成为作家艺术探索的新标识。
[Abstract]:Jia Pingao is a narrative text with spatial dimension. Under the superficial narrative of the abduction of women, the writer paints a realistic picture of the current rural ecological destruction, the desolation of the people's livelihood, and the loss of cultural norms. This paper constructs a rural social space form in which economic structure and political culture are intertwined. Taking the body of Hu Die as narrative discourse, it destroys and tears its body and mind. The restoration and narration of the traditional power and the modern law have deeply interfered with the female body and realized the rational reflection of the spiritual philosophy. At the same time, by interweaving, dividing, repeating, and so on, the narrative images, such as flower, blood, stone, star and so on, are mixed with the interpretation of the story. The combination of "ink painting" and "reality" expands the connotation and capacity of the traditional image, pushes the novel to the metaphysical level, and makes the space construction of "polar flower" become a new symbol of the writer's artistic exploration.
【作者单位】： 贵州师范学院文学院;
【基金】：贵州省教育厅高校人文社会科学规划项目:道家美学典范性问题研究(13GH018)
【分类号】：I207.42
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本文编号：1910286