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阎连科早期的“瑶沟系列”是以较为直接的方式书写乡土中国的内部权力构造,以此凸显农民在这套复杂的乡土体制中的真实生存境况。正是这套特殊的乡土政治使得这些千百年来生活在黄土地上的农民,为了生存不得不苦苦追寻权力,然而却也在这个过程中不得不接受权力的异化与压迫。对此,本文将选取《平平淡淡》(一九九六年)、《天宫图》(一九九四年)、《黑猪毛白猪毛》(二〇〇二年)、《金莲,你好》(一九九七年)、《情感狱》(一九九一年)几部作品。探讨当中的人们在面对贫困以及宗法社会与权力的压迫,不得不面临尊严的丧失、人性被挤压得变形。对此情景,阎连科藉由乡土书写对这些愚昧、沉默不语的农民进行批判之余,也抱持着深刻的同情。
Yan Lianke’s early “Yao ditch series ” is a more direct way to write native China’s internal power structure, in order to highlight the farmers in this complex system of local real life situation. It is this special local politics that has forced these peasants who lived on the loess land for thousands of years to search for power in order to survive. However, they also had to accept the alienation and oppression of power in the process. In this regard, this article will select the “flat” (1996), “Temple of Heaven” (1994), “black pig hair white pig hair” (2002), “Golden Lotus, Hello ”(1997),“ Feelings of Prison ”(1991) Several works. Explore the people in the face of poverty and patriarchal society and power oppression, had to face the loss of dignity, human nature was squeezed deformation. In this scenario, Yan Lianke also held deep sympathy while criticizing these stupid and silent peasants through local writing.