本文選題：隱含作者 + 敘事結(jié)構(gòu)�。� 參考：《華中師范大學學報(人文社會科學版)》2017年06期

【摘要】：《呼蘭河傳》是蕭紅最后的杰作,也是她文學和藝術上的巔峰之作,從隱含作者、敘事結(jié)構(gòu)、情節(jié)性以及限制敘事的可能性,從童心與詩心的意向結(jié)構(gòu)與非成人視角的敘事策略角度,以及如入化境的限制敘事——"我的人物比我高"的層面,可以發(fā)現(xiàn)《呼蘭河傳》的文學性以及其何以成為一部不朽小說的原因所在。《呼蘭河傳》小說主體層面是第一人稱回顧性敘述,這一類型的敘述潛藏兩種不同的敘事眼光:一是敘述者"我"從現(xiàn)在的角度追憶往事的眼光,二是被追憶的"我"過去正在經(jīng)歷事件時的眼光。《呼蘭河傳》兼具這兩種敘事眼光,而且尤重第二種敘事眼光:既包括有兒童的非成人視角的敘事眼光,又包括固定人物的限制性視角和轉(zhuǎn)換性人物有限視角。這都是隱含作者所采取的敘述行為和方式方法,是令原本缺乏因果鏈的小說能夠情節(jié)性強、藝術真實感油然而生的重要原因,同時也令小說更加具備打動人心力量和具有豐沛的文學性。而最真實感人展現(xiàn)童年時家鄉(xiāng)的一切、成功地運用兒童的非成人視角的敘事策略,還得益于蕭紅是一個童心與詩心兼具的作家,而且童年經(jīng)驗作為先在意向結(jié)構(gòu)對她的創(chuàng)作尤其是后期"內(nèi)觀"與"自傳體"特征的小說,產(chǎn)生了深遠的影響。這第二種敘事眼光所包含的三種敘事視角,其實都在傳達和體現(xiàn)蕭紅對小說學、小說寫法的一種認知——"我的人物比我高",是蕭紅對小說文體的自覺和一種自覺的創(chuàng)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.
【作者單位】： 中國社會科學院文學研究所;
【基金】：國家社會科學基金項目“新世紀海外華文作家的中國敘事研究”(17BZW171)
【分類號】：I207.425

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