阎连科笔下的城与乡及其创作心理
发布时间：2018-07-24 19:29
【摘要】：阎连科作为中国当代文坛独特的存在,其小说中的乡土世界具有鲜明的异质性。它不再是沈从文、贾平凹笔下的美丽的乡村“乌托邦”,也不再是绝大多数作家心目中那个贫穷却充满诗情画意的故乡,在他笔下,无边的黑暗和无尽的苦难笼罩着大地,贫穷和苦难成为乡村的底色,传统的诗意性描写已经消失,取而代之的,是对农民生存困境极端酷烈的展示。“墓地”般的书写,使乡村成为真正意义上的荒原。与乡村遥遥对立的是城市。阎连科对城市的态度耐人寻味,他早年宣称自己有“城市崇拜”,总是不厌其烦地展现苦难压迫下主人公们对城市的向往,对现代文明并未表现出有什么不满的地方,也未流露出任何批判之意。到了后期作品中却一反常态,以寓言化形式赞颂农民的抗争精神,在道德上将城市和农村对立起来,置现代文明于审判席上加以审视批判。值得注意的是,阎连科并不像其他作家那样对现代文明的堕落、腐朽等精神痼疾加以抨击,他的批判锋芒指向的是城市对乡村的冷漠、排拒和伤害。文学创作是作家心灵世界的隐秘表达,潜藏着作家的个性气质、人生遭际、文学追求甚至连自己都不曾发现的某种情绪,某些想法等。阎连科在文本中极力塑造“苦难的乡”、“冷漠的城”,本文将通过其小说、散文随笔和谈话录中的常见内容,结合作家生平经历、身份归属及其个性气质等,来分析其创作背后的深层次心理依据。文章共分成两大部分,第一部分为阎连科笔下的城乡景观特点概述。第一章根据其小说中的内容对“苦难的乡村”的基本特征作总体描述和归纳。阎连科早期对苦难的表达主要表现为物质的贫困、权力的欺压和风俗的桎梏三个方面。随着年龄和阅历的增长和对乡土认识的进一步深化,阎连科不再局限于描写河南西部某处具体的现实的村庄,他将乡村放置在农业文明的大背景下,以寓言的形式展现中国乡土社会的歌哭与守望。乡村的“残缺”本质在他荒原般的书写中得以凸显。第二章叙述阎连科笔下的城市形象。从时间上来看,城市经历了三个层面的变化,即理想化、欲望化、冷漠化。乡村的贫困造就了农民对城市生活的憧憬和美化,进城之后,农民头脑中的美梦破碎,他们沦为城市的最底层,干最脏最累的活,忍受城里人的歧视和冷眼,身体和心灵受尽折磨。对城市生活深入以后,才发现繁华富庶的背后,隐藏的是城市对乡村的冷漠和拒绝。第二部分研究其城乡写作的内驱力,即创作心理,包括三、四、五三章。首先是童年经验对阎连科写作的影响,主要表现为对苦难主题的执着表达,包括个体生存所面临的饥饿、疾病以及由疾病产生的死亡意识等。在阎连科小说中,这些极端的生命体验成为常态,比比皆是,甚至到了触目惊心的地步,是作家早年困苦生活所留下的心理创伤的加工与再现。其次是深潜作家内心的“自卑情结”,这是决定阎连科创作方向的重要心理特征之一。青少年时期的经历、“农裔城籍”作家的身份体认,使阎连科长久陷入“乡下人”的自卑中。自卑情结让阎连科能够感同身受的体查河南农民的各种想法,却也束缚了作家的想象,无法超脱于农民意识,获得自卑的超越。最后讲述焦虑情绪如何贯穿阎连科的生命。阎连科焦虑的事件主要有两个：一是自身身份的迷失。对故土,阎连科怀着无比复杂的感情,既怀恋又痛恨,既反叛又坚守,迫切渴望逃离它,然而逃离之后,现代都市生活所带来的漂泊无根之感又使作家不得不祈盼灵魂的回归,从逃离农村到逃离都市,阎连科一直试图寻找自身的位置,他的整个创作都流露出一种焦虑喧嚣甚至彷徨无助的情绪。二是对乡村现状的担忧。在中国乡村,传统道德在市场经济冲击下逐渐呈现崩毁之势,拜金主义、享乐之风盛行,在欲望面前,村民丧失了基本的道德价值判断,乡村变得混乱、无序。阎连科的许多作品直接表达了他的这种忧虑。
[Abstract]:As a unique existence of contemporary Chinese literary world, Yan Lianke has a distinctive heterogeneity in the local world of his novels. It is no longer the beautiful country "Utopian" of Shen Congwen and Jia Pingwa, and is no longer the hometown of the vast majority of writers who are full of poverty but full of poetic meaning, in his writing, the dark and endless bitter of the boundless. It is difficult to cover the earth, poverty and suffering become the background of the country. The traditional poetic description has disappeared. Instead, it is an extreme manifestation of the plight of the peasants' existence. The "graveyard" of writing makes the country a real wasteland. The city is far from the country. Yan Lianke's attitude to the city is thought-provoking, he is very thought-provoking, he In his early years, he claimed that he had a "city worship". It always showed that the hero's yearning for the city under the oppression of suffering and oppression, did not show any dissatisfaction with modern civilization, and did not show any criticism. The city and the countryside are opposed, and modern civilization is placed on the trial mat to examine and criticize. It is worth noting that Yan Lianke does not like other writers to criticize the depravity of modern civilization and corruption, and his criticism points to the cold, rejection and injury of the city to the countryside. Literary creation is the writer's soul world. The secret expression, hidden by the writer's personality, life experience, literary pursuit even some kind of emotion that he never found, and some ideas. In the text, Yan Lianke strongly molded "the hometown of suffering", "the city of cold", this article will through his novels, prose with the pen and the conversation of the common content, combined with the writer's life experience, This article is divided into two parts. The first part is a summary of the characteristics of the urban and rural landscape in Yan Lianke. The first chapter makes a general description and induction on the basic characteristics of the "misery country" according to the contents of his novels. The form of the early suffering of Yan Lianke is in the first chapter. The main manifestations are three aspects of the poverty of material, the bullying of power and the shackles of customs. With the growth of age and experience and the further deepening of local understanding, Yan Lianke is no longer confined to the description of a concrete and realistic village in Western Henan. He placed the countryside under the background of agricultural civilization and displayed China in a fable form. The crippled and Watchable of the local society. The "fragmentary" nature of the country has been highlighted in his wilderness of writing. The second chapters describe the city image written by Yan Lianke. From the time of view, the city has undergone three changes, namely, idealization, desire and apathy. The poor country has created the longing and beautification of the urban life of the peasants. After entering the city, the dreams of the peasants were broken. They were reduced to the bottom of the city, the most dirty and the most tired. They endure the discrimination and cold eyes of the townspeople, the body and the mind were tortured. After the life of the city, it was found that the rich and rich behind, the indifference and refusal of the city to the countryside. The second part of the study of urban and rural writing. The internal drive, namely the creative psychology, includes three, four, and 53 chapters. First, the influence of childhood experience on Yan Lianke's writing, which is mainly expressed as the persistent expression of the subject of suffering, including the hunger, disease and the consciousness of death produced by the disease. In Yan Lianke's novels, these extreme life experiences become normal, compared to comparison. All of them are, even to the point of astonishing, the processing and reappearance of the psychological trauma left by the writer's early life. The second is the "inferiority complex" in the deep submersion writer's heart, which is one of the important psychological characteristics that determine Yan Lianke's creative direction. The experience of the teenage age, the identity of the "peasant born city" writer, makes Yan Lianke The inferiority complex has long fallen into the inferiority of the "country man". The inferiority complex makes Yan Lianke able to find out the various ideas of the peasants in Henan, but also shackles the writer's imagination, and can not transcend the consciousness of the peasants and gain the transcendence of the inferiority. At last, there are two main events of Yan Lianke's anxiety. One is the lost of his own identity. For the native land, Yan Lianke has a very complicated feeling, both nostalgic and hated, both rebellious and persistent, and eager to escape from it. However, after escaping, the drifting sense of the modern urban life makes the writer have to pray for the return of the soul, and from escaping from the countryside to the city, Yan Lianke has always tried to Looking for its own position, his whole creation shows a feeling of anxiety, hustle and hesitation. Two is a worry about the current situation in the country. In the rural areas of China, the traditional morality is gradually collapsing under the impact of the market economy, the popularity of money worship and pleasure, and the villagers lose the basic moral values in the face of the desire. The countryside became chaotic and disordered. Many of Yan Lianke's works directly expressed his concern.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.42
本文编号：2142419
[Abstract]:As a unique existence of contemporary Chinese literary world, Yan Lianke has a distinctive heterogeneity in the local world of his novels. It is no longer the beautiful country "Utopian" of Shen Congwen and Jia Pingwa, and is no longer the hometown of the vast majority of writers who are full of poverty but full of poetic meaning, in his writing, the dark and endless bitter of the boundless. It is difficult to cover the earth, poverty and suffering become the background of the country. The traditional poetic description has disappeared. Instead, it is an extreme manifestation of the plight of the peasants' existence. The "graveyard" of writing makes the country a real wasteland. The city is far from the country. Yan Lianke's attitude to the city is thought-provoking, he is very thought-provoking, he In his early years, he claimed that he had a "city worship". It always showed that the hero's yearning for the city under the oppression of suffering and oppression, did not show any dissatisfaction with modern civilization, and did not show any criticism. The city and the countryside are opposed, and modern civilization is placed on the trial mat to examine and criticize. It is worth noting that Yan Lianke does not like other writers to criticize the depravity of modern civilization and corruption, and his criticism points to the cold, rejection and injury of the city to the countryside. Literary creation is the writer's soul world. The secret expression, hidden by the writer's personality, life experience, literary pursuit even some kind of emotion that he never found, and some ideas. In the text, Yan Lianke strongly molded "the hometown of suffering", "the city of cold", this article will through his novels, prose with the pen and the conversation of the common content, combined with the writer's life experience, This article is divided into two parts. The first part is a summary of the characteristics of the urban and rural landscape in Yan Lianke. The first chapter makes a general description and induction on the basic characteristics of the "misery country" according to the contents of his novels. The form of the early suffering of Yan Lianke is in the first chapter. The main manifestations are three aspects of the poverty of material, the bullying of power and the shackles of customs. With the growth of age and experience and the further deepening of local understanding, Yan Lianke is no longer confined to the description of a concrete and realistic village in Western Henan. He placed the countryside under the background of agricultural civilization and displayed China in a fable form. The crippled and Watchable of the local society. The "fragmentary" nature of the country has been highlighted in his wilderness of writing. The second chapters describe the city image written by Yan Lianke. From the time of view, the city has undergone three changes, namely, idealization, desire and apathy. The poor country has created the longing and beautification of the urban life of the peasants. After entering the city, the dreams of the peasants were broken. They were reduced to the bottom of the city, the most dirty and the most tired. They endure the discrimination and cold eyes of the townspeople, the body and the mind were tortured. After the life of the city, it was found that the rich and rich behind, the indifference and refusal of the city to the countryside. The second part of the study of urban and rural writing. The internal drive, namely the creative psychology, includes three, four, and 53 chapters. First, the influence of childhood experience on Yan Lianke's writing, which is mainly expressed as the persistent expression of the subject of suffering, including the hunger, disease and the consciousness of death produced by the disease. In Yan Lianke's novels, these extreme life experiences become normal, compared to comparison. All of them are, even to the point of astonishing, the processing and reappearance of the psychological trauma left by the writer's early life. The second is the "inferiority complex" in the deep submersion writer's heart, which is one of the important psychological characteristics that determine Yan Lianke's creative direction. The experience of the teenage age, the identity of the "peasant born city" writer, makes Yan Lianke The inferiority complex has long fallen into the inferiority of the "country man". The inferiority complex makes Yan Lianke able to find out the various ideas of the peasants in Henan, but also shackles the writer's imagination, and can not transcend the consciousness of the peasants and gain the transcendence of the inferiority. At last, there are two main events of Yan Lianke's anxiety. One is the lost of his own identity. For the native land, Yan Lianke has a very complicated feeling, both nostalgic and hated, both rebellious and persistent, and eager to escape from it. However, after escaping, the drifting sense of the modern urban life makes the writer have to pray for the return of the soul, and from escaping from the countryside to the city, Yan Lianke has always tried to Looking for its own position, his whole creation shows a feeling of anxiety, hustle and hesitation. Two is a worry about the current situation in the country. In the rural areas of China, the traditional morality is gradually collapsing under the impact of the market economy, the popularity of money worship and pleasure, and the villagers lose the basic moral values in the face of the desire. The countryside became chaotic and disordered. Many of Yan Lianke's works directly expressed his concern.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.42
【参考文献】
相关期刊论文 前6条
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