摘要
满族著名作家叶广芩,因其正统皇族贵胄的出身,以及对家族历史风云与时代变迁的执着书写,成为当代作家中的独特存在。代表作《采桑子》和《全家福》,即充分体现了作者在想象历史与呈现文学经验方面所取得的成绩,以及存在的问题。一方面,在叙事话语的建构上,《采桑子》删繁就简,将宏大、玄虚的历史,落实到若干具体个人身上,造成小说总体结构的松散。而《全家福》则将家族故事完全纳入先后承续的历史时间框架中,陷入历史大于人的困境;此外,族性和现代性濡染下的"京味"也呈现出新变,即从意象化到虚化,乃至消弭于对时代表象的截取和拼贴中。保有"总体"和"断裂"的审美眼光,是解决上述问题的重要路径,而重新深化和提升对"贵族精神"的理解,并将其化入小说的创作实践,则是从源头上提升作品艺术品格的根本所在。唯此,少数民族作家的创作,才能不为一己、一个家族、一个朝代所限,发出保有自己族性特质的时代之音。
The famous writer Ye Guangqin has been the unique existence in contemporary writers because of the orthodox royal family of origin and the writing of family history and times.His representative works Caisangzi and Quanjiafu reflect his achievements and problems in imagining history and presenting literary experience.On the one hand,in the construction of narrative discourse,Caisangzi carries out the grand and lofty history on some specific persons,which leads to the looseness of the overall structure of novel.However,the Quanjiafu takes the family story into historical frame of succession,and falls into the plight that history is bigger than man.In addition,nationality and modernity bring new changes to the“Beijing Style”,from the image to blur,and avert in the intercept and collage of times appearance.Keeping the aesthetic view of“whole”and“broken”is an important way to solve the problems.The fundamental character is that,we should understand the“noble spirit”deeply,and utilize the spirit in the creative practice of the novel.Only in this way,the minority writers could go beyond the limits of oneself,family and one dynasty,and send out a voice of the age that retains its own identity.
作者
王岩
WANG Yan(Department of Chinese, Jiangsu Second Normal University, Nanjing 210013, China)
出处
《河北民族师范学院学报》
2017年第4期18-24,共7页
Journal of Hebei Normal University For Nationalities
基金
2017年度江苏高校哲学社会科学研究基金项目"文学经验的理论
方法与问题研究"(编号:2017SJB0553)阶段性成果
