摘要
贾平凹并非先锋作家,但他却一直走在艺术形式探索与实验的路上。从《秦腔》起,贾平凹扭转其“辞章灿烂,情趣盎然”的文风,开始选择对叙事对象进行“原生态”的描摹与呈现。叙事方式的重新选择,意味着贾平凹审视世界的角度与思维方式逐步发生变化或调整,作家的审美方式随之出现“拐点”。他执着地对文本细部进行密集而厚实的精雕细刻,以真正植根于土地,呈现生活内部丰盈而繁杂的结构与肌理。这些极具个性色彩的叙事细节与叙事语言等,蕴蓄出了贾平凹充满个性化和独创性的“生活流”叙事,凝聚成贾平凹小说“细部的力量”。自然地透视与还原出存在世界的本相、与日常生活肌理的契合与统一、对于暴力与苦难的“观照”与“救赎”等创作意旨,都在“生活流”叙事中得到充分彰显。
Jia Pingwa is not a pioneer writer,but he has always been on the way to exploring and experimenting art forms.Since Qin Opera,Jia Pingwa reversed his“brilliant rhetoric and full of interest”style of writing.Then he began to choose to describe and present the“original ecology”of narrative objects.The re-selection of narrative mode means that Jia Pingwa’s perspective of seeing the world and logic of thinking changed or adjusted gradually.And then a turning point emerged in his aesthetic way as this happened.To present the rich and complex structure and texture of life and truly make it root in the ground,he refined the details of the text persistently.By these very personalized discourse methods,narrative details and narrative languages,Jia Pingwa formed a personal and original way of“life stream”narration which condensed the“power of details”into his novels.The creative intentions such as natural perspective and restoration of the existence of the world,the fit and unity with the texture of daily life,and the“care”and“redemption”of violence and suffering are fully displayed in the narration of“life stream”.
作者
刘潇萌
Liu Xiaomeng(School of International Education,Shenyang Normal University,Shenyang 110034,China)
出处
《辽宁师范大学学报（社会科学版）》
2023年第3期103-110,共8页
Journal of Liaoning Normal University(Social Science Edition)
基金
国家社会科学基金重大项目“中国当代作家写作发生与社会主义文学生产关系研究”(22ZD273)。
