發(fā)布時(shí)間：2018-05-15 08:55

  本文選題：閻連科 + 小說(shuō)��； 參考：《廣西師范學(xué)院》2017年碩士論文

【摘要】：蘊(yùn)含著作家獨(dú)特情感與思考的小說(shuō)意象,對(duì)于深入認(rèn)識(shí)理解作家作品具有重要的作用。在閻連科的眾多小說(shuō)中,反復(fù)多次出現(xiàn)的身體意象、疾病意象、死亡意象、夢(mèng)意象、動(dòng)植物意象、太陽(yáng)意象是組成其小說(shuō)世界的重要因子。其中,作為商品、農(nóng)作物肥料、治病良藥、食物的身體意象,是小說(shuō)中處于極端環(huán)境與條件之下人們的唯一希望,并有著“身體即是苦難之源”的隱喻;殘疾、性病、熱病、喉堵癥、癡傻癥等繁雜嚴(yán)重的疾病意象,則直接而集中地展示了“在苦痛中煎熬”的底層民眾們深重的苦難,并蘊(yùn)含著作家對(duì)病態(tài)的鄉(xiāng)村與城市的揭露和批判;尸體、棺材、葬禮、墳?zāi)�、亡靈等死亡意象,顯示了鄉(xiāng)土村民們對(duì)死亡的重視,隱喻了他們“向死而生,死即是生”的生死觀;回憶之夢(mèng)、預(yù)兆之夢(mèng)、妄想之夢(mèng)、救贖之夢(mèng)等夢(mèng)意象,是人物內(nèi)心情感世界在其潛意識(shí)中的投影,隱喻了閻連科對(duì)現(xiàn)代化發(fā)展各種問題的隱憂;烏鴉和狗等動(dòng)物意象,樹與玉蜀黍等植物意象,是閻連科小說(shuō)中不可或缺的自然物象,蘊(yùn)含著“眾生皆苦”的隱喻;普照四方,養(yǎng)育萬(wàn)物的太陽(yáng)的意象,則隱喻了“永恒的希望與失望”。閻連科小說(shuō)中反復(fù)出現(xiàn)的這些意象,并非完全是作家的憑空想象與隨意構(gòu)思,而與其生活經(jīng)歷和閱讀經(jīng)驗(yàn)密切相關(guān)�？酀c疼痛的成長(zhǎng)經(jīng)歷、神秘而獨(dú)特的民間文化與外國(guó)文學(xué)的啟示和開悟,共同給閻連科的意象書寫帶來(lái)深刻的影響。在對(duì)閻連科小說(shuō)中主要的意象進(jìn)行整體的分析與闡釋時(shí),我們發(fā)現(xiàn):這些意象無(wú)不浸透著生存的苦水。深重的苦難將閻連科筆下的底層民眾們置于絕望的境地之中。為了反抗令人絕望的命運(yùn),他們耗盡了自己的一切,但仍然無(wú)濟(jì)于事。但是,在不斷反抗絕望命運(yùn)的過程中,這些民眾們因?qū)ψ陨砩恼湟暥@得了生命最大的意義。最終,命運(yùn)只能將他們打傷打殘卻終于無(wú)法打敗他們,這些反抗者的生命也因抗?fàn)幎兊酶訌?qiáng)韌,呈現(xiàn)出偉力的生命之美。除此之外,我們還發(fā)現(xiàn):閻連科的眾多意象及意象敘事具有神奇而荒誕的特征。通過對(duì)這些意象書寫的進(jìn)一步分析,使我們對(duì)于閻連科名為“神實(shí)主義”的小說(shuō)創(chuàng)作理念與方法的形成過程有了較為清晰的認(rèn)識(shí)與理解。我們認(rèn)識(shí)到這些意象以及它們所構(gòu)成的意象敘事,就是閻連科“神實(shí)主義”創(chuàng)作方法的具體實(shí)踐。這些意象中所蘊(yùn)含的一些“真相”與隱喻,實(shí)質(zhì)上便是“神實(shí)主義”所要達(dá)到的最終目標(biāo):發(fā)現(xiàn)與揭示生活中那些“看不見的真實(shí)”與“被真實(shí)掩蓋的真實(shí)”。作為閻連科小說(shuō)的重要組成因子,意象及意象敘事推動(dòng)著閻連科的小說(shuō)從“神”之橋梁抵達(dá)“實(shí)”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".
【學(xué)位授予單位】：廣西師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.42

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 李縉英;;閻連科小說(shuō)的狂歡化文學(xué)敘事研究[J];關(guān)東學(xué)刊;2016年06期

2 朱靜宇;;胡安·魯爾福“神性之作”的啟悟——以閻連科的《日光流年》為例[J];當(dāng)代作家評(píng)論;2013年05期

3 閻連科;;當(dāng)代文學(xué)中的“神實(shí)主義”寫作——在常熟理工學(xué)院“東吳講堂”上的講演[J];東吳學(xué)術(shù);2011年02期

4 劉保亮;;試析閻連科小說(shuō)的疾病意象[J];名作欣賞;2009年30期

5 劉保亮;;河洛文化視閾下的河洛文學(xué)[J];洛陽(yáng)理工學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2008年01期

6 葉永勝;;現(xiàn)代小說(shuō)中的癡傻形象及敘述者[J];貴州師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2008年04期

7 王德威;;革命時(shí)代的愛與死——論閻連科的小說(shuō)[J];當(dāng)代作家評(píng)論;2007年05期

8 陳富志;;真實(shí)的荒誕——試析閻連科《丁莊夢(mèng)》中的夢(mèng)意象[J];平頂山學(xué)院學(xué)報(bào);2007年03期

9 葛紅兵;骨子里的先鋒與不必要的先鋒包裝——論閻連科的《日光流年》[J];當(dāng)代作家評(píng)論;2001年03期

10 楊希順;;革命悲劇,還是國(guó)民悲劇?——《藥》的主題、人物之我見[J];河北師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);1992年04期

，

本文編號(hào)：1891801