摘要
迄今为止，《活着》仍然是余华最高水平的作品。从形式上看，这部小说的语言和叙事部具有一种简洁、朴素的特性。具体表现为民间化的常用语汇、简洁的句子结构、隐蔽的叙事技巧等。这些表象的背后，是余华写作观念的转变——余华在写作中声音的隐退，从而让作品中的人物发出自己的声音。这种观念的转变才是余华小说语言和叙事风格变化的根本原因。这也就能够很好地解释《活着》及其以后几部长篇小说风格的变化及水平高低的问题。《活着》的成功是由于其从语言、叙事到人物、故事，再到作品的深处都含蕴在中国传统哲学——道家精神中。从内到外三个层次达到了一种完美的和谐统一，并且只有这种统一才能带来高度的审美感受。
Being Alive has so far been regarded as the highest level of Yu Hua＇s works. In form, this novel is characterized by being concise and plain in language and narration, which embody the colloquial dialect, simple sentence structure, and writing attitude hidden narrative skills, which indicate the change in Yu Hua＇s the gradual absence of the author＇s voice and the presence of the protagonists＇. This shift is the main reason that leads to his change in lan- guage and narrative style, and it better explains the ditterent levels and styles of his Being Alive and other following novels. The success of Being Alive lies in the embodiment of Chinese traditional philosophy Taoism in all aspects from language to narration, characters to struT, which form a pertect and harmonious unity. On- ly this unity can offer readers high aesthetic experience.
出处
《珠江论丛》
2014年第2期113-123,共11页
Pearl River Forum
