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前现代叙事是一种“说书人场”叙事,其根基是立于循环史观之上的超善恶叙事,这种叙事允许叙述当中杂声的存在,而现代叙事则是一种“知识人场”叙事,它建基于线性史观是一种善恶叙事,这种叙事不容忍任何杂声叙事,通常会将杂声剪除掉。《故事新编》当中的油滑其实质就是鲁迅借鉴前现代的“说书人场”叙事,从而克服1926年转变之前的某种现代“知识人场”的善恶叙事。从这个角度来验证《不周山》,鲁迅所谓的油滑自《不周山》始这个说法是可疑的。《故事新编》中油滑真正的产生是在1926年鲁迅中期转变之后《故事新编》的写作中。
The pre-modern narrative is a narrative of “the story of the storyteller.” Its foundation is the ultra-good-evil narrative which is based on the circular historical conception. This narrative allows the existence of the accent in the narrative, while the modern narrative is a “The field of knowledge” narrative, which is based on the linear history of history is a kind of good and evil narrative, this narrative does not tolerate any noise narrative, usually noise will be cut off. The essence of slickness in the story series is that Lu Xun used the pre-modern narrative of “storyteller field” to overcome the good and evil narratives of a modern “intellectual field” before the 1926 shift. From this perspective, it is suspicious to verify that “no surrounding mountains” and Lu Xun’s so-called slippery since the “unruly”. “The story of the new” in the real production of the slip in the mid-1964 Lu Xun’s “new story” after the writing.