摘要
《老生》采用集"奇书引用—奇人见证—民间历史展示"于一体的独特叙事模式,完成了奇书《山海经》与百年民间历史的融合。在这一融合中,奇书《山海经》勾连着奇人、奇事及民间历史,并常常与小说中的故事内容发生关联和指涉;奇人唱师则充当了叙事者和历史见证者,由于视角的特殊,唱师的见证具有着处于历史之中而又逸出历史之外的超越性。《老生》独特的叙事方式及其展现出来的写意性为贾平凹的创作提供了新的倾向性和可能性,并为当代小说如何对《山海经》等古典资源及民间资源进行现代转化提供了借鉴。
Employing a unique narraology which cites the fantastic book as reference, witnesses as the mythical figure saw, and demonstrates the folk history, Laosheng completed the integration of the fantastic book, Shan Hai Jing（Classic Mountains and Seas）, with the folk history. In this case, Shan Hai Jing takes a role of link to connect the mythical figures, the miracles, and folk history to create an association with the story of the novel. As both a narrator and a historical witness, the master singer, who is a mythical figure, saw specially the transcendence in and out of the history. The unique style of narraology and the freehand writing employed by Jia Pingwa in his novel open up a new stage of tendency and possibility, and also provide reference for the modern transformation of classical and folk resources.
出处
《西安建筑科技大学学报（社会科学版）》
2015年第6期76-82,共7页
Journal of Xi'an University of Architecture & Technology(Social Science Edition)
关键词
老生
奇书
民间历史
融合
Laosheng
the fantastic book
the folk history
integrate together
