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20世纪40年代有相当一部分中国作家在小说观念和形式方面进行新的探索,其中对反讽姿态和叙述调子的选择,具有生成新的小说叙事和审美模式的可能性。在骆宾基的小说《北望园的春天》中,反讽成为一种结构性的视景,它不仅是叙事姿态和调子,还与作者在战时认知和体察世界的方式相关,最终有望生成一种与战时文化语境相适应的小说美学。这反映出作者试图在反讽与同情、审视与认同、犹疑与确定之间寻求一种非稳定性的平衡的诗学技艺,以及小说家在战争年代对人性状况、知识者自身生存境遇的洞察和反思。
A considerable number of Chinese writers in the 1940s conducted new explorations on the concept and form of novels. Among them, the choice of irony gesture and narrative tone has the possibility of generating new narrative and aesthetic modes of novels. Ironically, in Luo Binji’s novel Spring at the North Hope Garden, irony becomes a structural vision that is not only a narrative gesture and tone, but also relates to the way in which the author perceives and perceives the world during wartime, and eventually is expected to generate a Novel Aesthetics Adaptable to Cultural Context of Wartime. This reflects that the author seeks to seek a balance of poetic techniques of non-stability between irony and sympathy, examination and identification, hesitation and determination, as well as the novelist’s insight into human nature and the living conditions of the intellectuals during the war years. Reflection.