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面对作家金周荣的作品世界,我们会觉得描述其为“游民作家的文学”最为贴切,这是因为什么呢?也许那理由就在于他那不停留于某一地,不断地去旅行的流浪癖;又或许是因为他的很多作品中的主人公大体上都带有游民性格。金周荣的游民意识不仅在《客主》,在《惊天雷声》等其他作品中也表现无遗。金周荣之所以用这种游民意识刻画到处游荡的人物,似乎就是因为作家认为人类本来就是“游荡的动物”。那么,“游荡的动物”或者“原本就是游民”类的人类观和作家的游民气质是如何形成的呢?他的这种文学特征意味着什么呢?本文目的就在于,通过对作家的三部成长小说(《捕鱼者不毁芦苇荡》、《洪鱼》、《鳀鱼》)以及以母亲为主题的《走好,妈妈》的分析来探讨前述的相关问题。
In the face of the world of works by the writer Jin Zhourong, we may find it most appropriate to describe it as “the literature of the traveler writers.” What is the reason? Perhaps the reason lies in his constant travel to somewhere Wandering; or perhaps because the protagonists in many of his compositions are largely bushmanish. Kim Jong-rong’s sense of tourist is not only expressed in “Hakka” but also in other works such as “Thunder and Thunder”. The reason why Jin Zhourong portrayed wandering characters in this sense of caste seems to be that writers think that mankind has always been a “wandering creature.” Then, how does the “roaming animal” or “the vagrant” class human outlook and the writer’s vagrant style come into being and what does this literary trait mean? The purpose of this article is that by The three related novels of the writer (“The fisherman does not ruin the reeds”, “Hong fish” and “Tuna”), and mother-centered analysis of “walking well, mom” explored the aforementioned issues.