摘要
《天香》和《考工记》聚焦“物质”主题:前者是晚明时期申家所创“天香园绣”,后者为陈书玉守护一生的老宅。对器物的“造”与“守”,小说揭示“物”在器物、实践、观念三个层面的意义。“天香园绣”和老宅还是感情的依托,物性与人性融合,物与人的关系实现“相知相守,以物塑人”的同构关系。在作家叙事设计下,物质又完成了“反历史”常规和反闺阁女性物化的宿命书写。从物质三层话语、物与人、物与文学三个维度阐释上海及市民形象,探析王安忆的写作。
Tianxiang and Kaogongji focus on the theme of substance.The former refers to the“Tianxiangyuan Embroidery”created by Shen family in the late Ming Dynasty,and the latter the old house guarded by Chen Shuyu all his life.The“creation”and“conservation”of the artifacts reveals the significance of things in three levels:artifacts,practice and concepts.Both“Tianxiangyuan Embroidery”and the old house are the emotional attachment.The isomorphic relationship of“knowing each other and shaping man via substance”is realized by the combination of physicality and humanity and the relationship between substance and man.Through the author’s narrative design,the substance completes the anti-historical routine and the fateful writing of the feminist materialization.This paper analyzes Wang Anyi’s writing in interpreting Shanghai and its citizens from the three dimensions of three-layer discourse of substance,object and human and object and literature.
作者
曾文艳
ZENG Wenyan(College of Liberal Art,Huaqiao University,Quanzhou,Fujian 362021,China)
出处
《衡水学院学报》
2020年第6期117-121,共5页
Journal of Hengshui University
