论文部分内容阅读
校录师陀之“芦焚”时期之佚文,揭示其“一二·九”三部曲的创作过程及其文学史意义,探讨其《渔家》等别样的灾年叙事和《筏》等河患叙事以及义勇军叙事的多样尝试,考释其杂文写作、“太行山系列散文”及抒情散文《牧笛》的别样情怀,以师陀作品为例,讨论如何处理现代文学文献中似而不同的异文本问题,认为师陀不属于京派,而是一个准左翼作家或者说自由左翼作家——这对他才是实至名归的光荣归位。
The history of the study on the “Lushi” period was revealed and the significance of literary history of “Bacheng” trilogy and the history of its literary history were explored. A variety of attempts at narrating river rafts and narratives of volunteer armies, examining their essays, examining the essays in the Taihang Mountains series and the novel “Mu Di”, and taking Shituo’s works as examples to discuss how to handle modern literary literature Different but different texts, that Shituo does not belong to the Beijing school, but a quasi-left-wing writers or free left-wing writers - this is deservedly deserved to return to him.