论20世纪90年代女性都市小说中的影像叙事  

The Image Narrative Strategy in the Female Metropolitan Novels of the 1990's

作　　者：程箐[1] 

机构地区：[1]赣南师范学院文学与新闻传播系,江西赣州341000

出　　处：《赣南师范学院学报》2008年第5期40-44,共5页Journal of Gannan Teachers' College(Social Science(2))

基　　金：2007年江西省社会科学规划办项目"20世纪90年代以来女性文学与出版关系研究"(07WX233)

摘　　要：20世纪90年代女性都市小说受到文坛内外的广泛关注,这与女作家们确立了与阅读市场相匹配的叙事策略有密切的关系。女作家们在创作小说时,把蒙太奇结构、场景的迅速切割转换、空间造型意识、视听效果的意象呈现等大量影像叙事手法运用其中,有效地开拓了中国小说的传统叙事空间,并让影视传媒及读者对她们的小说产生了浓厚的兴趣。影像叙事在给女性都市写作带来巨大的商业利益的同时,也在一定程度上蚕食了文本的深度想像空间,损失了作品的思想内涵。这是女作家们要超越自我时所不容忽视的。Female metropolitan novels in the 1990s have drawn the public attention in and out of the literary world. That has much to do with the narrative tactics built up by female writers, who think writing aim should go with the readers＇market. Female writers have applied images to a large number of narrative expressions , such as the technique of montage, the swift cut and change of scenes, the sense of mounding in space, the images of seeing and heating, and so forth. All these techniques have effectively opened up a broader space in traditional Chinese narration, arousing great interest of film, television, media and readers. Image narration has brought great commercial benefits to female metropolitan writers, but on the other hand, it has nibbled away at their deeper imagination to some extent and lost the thinking connotation of their works. This is what female writers should not ignore if they want to surmount themselves in the future.

关 键 词：都市小说 女性文学 影像叙事 

分 类 号：I207.67[文学—中国文学]