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在对《生死场》主题的梳理中,我们发现历来的研究者都将《生死场》看作一个主题转换的文本。本文在文本细读的基础上,认为《生死场》并非一个主题转换的断裂文本,而是在很大程度上保持了主题的统一。而且文本在第二部分引入的抗战主题对于萧红的创作来说是一个重要事件,它折射了时代要求与创作个性在作者身上所引起的内在冲突,正是这种冲突造成了小说主题的模糊以及艺术水准的相对下降(相比小说第一部分)。因此,《生死场》第二部分的意义超越了主题本身,它是萧红走向艺术自觉的重要一环,也是理解萧红全部创作的重要门径。
In the combing of the themes of “life and death field”, we find that historians always consider “life and death field” as the text of a thematic transformation. On the basis of careful reading of the text, this paper argues that “the field of life and death” is not a broken text of the theme conversion, but largely maintains the unity of the theme. Moreover, the anti-war theme introduced in the second part of the text is an important event for Xiao Hong’s creation. It reflects the internal conflicts caused by author and demands of the times and the individuality of creation. It is this conflict that leads to the obscure theme of the novel, The relative decline in artistic standards (compared to the first part of the novel). Therefore, the meaning of the second part of “Life and Death Field” goes beyond the theme itself. It is an important part of Xiao Hong’s move towards artistic consciousness and an important way to understand Xiao Hong’s whole creation.