摘要
《我不是潘金莲》讲述的是李雪莲在自己被指摘为潘金莲时,试图证明自己不是潘金莲,20年来坚持上访、寻求公道的故事。小说显示了作家刘震云在自身创作序列上开始求新,从前期的“新写实小说”的创作系列转向了新时期的“说话”系列,小说中李雪莲“说不上话”的困境其实就是生存的困境。这部小说后来被改编为电影,小说影视化的过程也是再阐述的过程,在影片中,李雪莲的符号性指认更为明显,反而冲淡了原小说文本中借由李雪莲形象切入的对于现代权力运作的反思。但无论是小说还是电影,都旨在借由李雪莲这样一个弱势地位的反抗者形象,揭示乡土社会与现代权力机构之间的矛盾,折射出当代人所面对的一种更普遍的结构性焦虑。
I am not Madame Bovary tells the story of a woman named Li Xuelian who is accused of being Pan Jinlian(Chinese Madame Bovary),tries to justify herself to be chaste and insists on appealing for justice for 20 years.Also,the novel implies that the writer Liu Zhenyun tries to seek a breakthrough in his own creation sequence,with transferring from the previous series of new realistic novels to the new of the speaking series,but the language dilemma is the survival dilemma.The novel was later adapted into of film,the process of novel adaptation is also a process of re-elaboration.In the film,the symbolic identification of Li Xuelian is more obvious compared with the novel,but it dilutes the reflection on modern power reflected from Li Xuelian.No matter novel or film,the writing of the image of Li Xuelian who is a rebel in a weak position aims to reveal the contradiction between the local society and the modern power organization,which also reflects a more general structural anxiety faced by contemporary people.
作者
魏舒忆
WEI Shuyi(Department of Chinese Literature and Linguistic, Peking University, Beijing 100871, China)
出处
《闽江学院学报》
2021年第3期37-42,共6页
Journal of Minjiang University
关键词
《我不是潘金莲》
刘震云
性别符号
生存困境
乡约民规
结构体制
I am not Madame Bovary
Liu Zhenyun
gender symbol
survival dilemma
village rules and regulations
structural system
