“意象”的衰减——从《高老庄》到《秦腔》  

Weakening of imagery:From Gaolaozhuang to Qinqiang

作　　者：李勇[1] 

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《武汉科技大学学报（社会科学版）》2009年第4期83-87,共5页Journal of Wuhan University of Science and Technology:Social Science Edition

摘　　要：贾平凹在二十世纪九十年代倡导并实践一种局部、细节上生活流式的写实和宏观上"意象"张扬的小说写法,典型地体现在以《高老庄》为代表的几部长篇小说中,但是在《秦腔》中,"意象"衰减了,这源于贾平凹面对当下乡村现实时的迷惘和彷徨。《秦腔》削减了"意象",却继续发扬了那种呈现式的生活流写实手法,这种写实手法在艺术上坚持了作者对浑朴苍茫之境的一贯追求,并渗透了贾平凹个人的生命体验,写出了一种面对故乡消逝时的超越性的悲哀,这是《秦腔》独特的艺术价值和魅力所在。Jia Pingwa advocated realistic portrayal of details combined with macroscopic highlighting of “imagery” in novel composition in the 1990s, which finds full expression in his several novels with Gaolaozhuang as the representative. However, in Qinqiang, another novel by Jia, the imagery has weakened which can be explained by Jia＇s confusion and hesitation when confronted with the reality of the present countryside. Yet, Qinqiang carries forward Jia＇s tradition of realistic description which has demonstrated his everlasting pursuit for simpleness and boundlessness in art, embodied his personal life experiences and expressed a kind of transcending sadness upon the lapse of his hometown. This is the uniqueness and the charm of Qinqiang.

关 键 词：写实 意象 观念 《高老庄》 《秦腔》 

分 类 号：I206.7[文学—中国文学]