閻連科筆下的城與鄉(xiāng)及其創(chuàng)作心理
發(fā)布時間：2018-07-24 19:29
【摘要】：閻連科作為中國當代文壇獨特的存在,其小說中的鄉(xiāng)土世界具有鮮明的異質(zhì)性。它不再是沈從文、賈平凹筆下的美麗的鄉(xiāng)村“烏托邦”,也不再是絕大多數(shù)作家心目中那個貧窮卻充滿詩情畫意的故鄉(xiāng),在他筆下,無邊的黑暗和無盡的苦難籠罩著大地,貧窮和苦難成為鄉(xiāng)村的底色,傳統(tǒng)的詩意性描寫已經(jīng)消失,取而代之的,是對農(nóng)民生存困境極端酷烈的展示。“墓地”般的書寫,使鄉(xiāng)村成為真正意義上的荒原。與鄉(xiāng)村遙遙對立的是城市。閻連科對城市的態(tài)度耐人尋味,他早年宣稱自己有“城市崇拜”,總是不厭其煩地展現(xiàn)苦難壓迫下主人公們對城市的向往,對現(xiàn)代文明并未表現(xiàn)出有什么不滿的地方,也未流露出任何批判之意。到了后期作品中卻一反常態(tài),以寓言化形式贊頌農(nóng)民的抗爭精神,在道德上將城市和農(nóng)村對立起來,置現(xiàn)代文明于審判席上加以審視批判。值得注意的是,閻連科并不像其他作家那樣對現(xiàn)代文明的墮落、腐朽等精神痼疾加以抨擊,他的批判鋒芒指向的是城市對鄉(xiāng)村的冷漠、排拒和傷害。文學(xué)創(chuàng)作是作家心靈世界的隱秘表達,潛藏著作家的個性氣質(zhì)、人生遭際、文學(xué)追求甚至連自己都不曾發(fā)現(xiàn)的某種情緒,某些想法等。閻連科在文本中極力塑造“苦難的鄉(xiāng)”、“冷漠的城”,本文將通過其小說、散文隨筆和談話錄中的常見內(nèi)容,結(jié)合作家生平經(jīng)歷、身份歸屬及其個性氣質(zhì)等,來分析其創(chuàng)作背后的深層次心理依據(jù)。文章共分成兩大部分,第一部分為閻連科筆下的城鄉(xiāng)景觀特點概述。第一章根據(jù)其小說中的內(nèi)容對“苦難的鄉(xiāng)村”的基本特征作總體描述和歸納。閻連科早期對苦難的表達主要表現(xiàn)為物質(zhì)的貧困、權(quán)力的欺壓和風(fēng)俗的桎梏三個方面。隨著年齡和閱歷的增長和對鄉(xiāng)土認識的進一步深化,閻連科不再局限于描寫河南西部某處具體的現(xiàn)實的村莊,他將鄉(xiāng)村放置在農(nóng)業(yè)文明的大背景下,以寓言的形式展現(xiàn)中國鄉(xiāng)土社會的歌哭與守望。鄉(xiāng)村的“殘缺”本質(zhì)在他荒原般的書寫中得以凸顯。第二章敘述閻連科筆下的城市形象。從時間上來看,城市經(jīng)歷了三個層面的變化,即理想化、欲望化、冷漠化。鄉(xiāng)村的貧困造就了農(nóng)民對城市生活的憧憬和美化,進城之后,農(nóng)民頭腦中的美夢破碎,他們淪為城市的最底層,干最臟最累的活,忍受城里人的歧視和冷眼,身體和心靈受盡折磨。對城市生活深入以后,才發(fā)現(xiàn)繁華富庶的背后,隱藏的是城市對鄉(xiāng)村的冷漠和拒絕。第二部分研究其城鄉(xiāng)寫作的內(nèi)驅(qū)力,即創(chuàng)作心理,包括三、四、五三章。首先是童年經(jīng)驗對閻連科寫作的影響,主要表現(xiàn)為對苦難主題的執(zhí)著表達,包括個體生存所面臨的饑餓、疾病以及由疾病產(chǎn)生的死亡意識等。在閻連科小說中,這些極端的生命體驗成為常態(tài),比比皆是,甚至到了觸目驚心的地步,是作家早年困苦生活所留下的心理創(chuàng)傷的加工與再現(xiàn)。其次是深潛作家內(nèi)心的“自卑情結(jié)”,這是決定閻連科創(chuàng)作方向的重要心理特征之一。青少年時期的經(jīng)歷、“農(nóng)裔城籍”作家的身份體認,使閻連科長久陷入“鄉(xiāng)下人”的自卑中。自卑情結(jié)讓閻連科能夠感同身受的體查河南農(nóng)民的各種想法,卻也束縛了作家的想象,無法超脫于農(nóng)民意識,獲得自卑的超越。最后講述焦慮情緒如何貫穿閻連科的生命。閻連科焦慮的事件主要有兩個：一是自身身份的迷失。對故土,閻連科懷著無比復(fù)雜的感情,既懷戀又痛恨,既反叛又堅守,迫切渴望逃離它,然而逃離之后,現(xiàn)代都市生活所帶來的漂泊無根之感又使作家不得不祈盼靈魂的回歸,從逃離農(nóng)村到逃離都市,閻連科一直試圖尋找自身的位置,他的整個創(chuàng)作都流露出一種焦慮喧囂甚至彷徨無助的情緒。二是對鄉(xiāng)村現(xiàn)狀的擔(dān)憂。在中國鄉(xiāng)村,傳統(tǒng)道德在市場經(jīng)濟沖擊下逐漸呈現(xiàn)崩毀之勢,拜金主義、享樂之風(fēng)盛行,在欲望面前,村民喪失了基本的道德價值判斷,鄉(xiāng)村變得混亂、無序。閻連科的許多作品直接表達了他的這種憂慮。
[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.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.42
本文編號：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.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.42
【參考文獻】
相關(guān)期刊論文 前6條
1 閻連科 ,姚曉雷;“寫作是因為對生活的厭惡與恐懼”[J];當代作家評論;2004年02期
2 蔡誠;我一生的寫作在20歲前就全部完成——訪著名作家閻連科[J];高中生之友;2004年11期
3 朱向前;對農(nóng)民軍人的愛與知——閻連科印象兼跋《和平寓言》[J];小說評論;1994年06期
4 閻連科;;風(fēng)雅頌[J];西部;2008年03期
5 閻連科;;文學(xué)的愧疚[J];揚子江評論;2011年03期
6 龐秀慧;;男性的性別怨恨與城市女性想象——對“鄉(xiāng)下人進城”男性敘事文本的一種考察[J];中州學(xué)刊;2012年01期
，本文編號：2142419
本文鏈接：http://sikaile.net/wenyilunwen/hanyuyanwenxuelunwen/2142419.html
