索罗金小说中的“审丑”叙事模式  

The Narrative Model of "Having an Eye for the Ugly" in Soloukhin's Fictions

作　　者：温玉霞[1] 

机构地区：[1]西安外国语大学俄语系

出　　处：《俄罗斯文艺》2011年第1期51-59,共9页Russian Literature & Arts

基　　金：国家教育部人文社会科学重点研究基地黑龙江大学俄语语言文学研究中心2006年重大研究项目(06JJD74047-99001);陕西省教育厅科学研究计划项目"俄罗斯后现代主义小说研究"(09JK187)的阶段性成果之一

摘　　要：索罗金以"粪土化"、"丑陋化"和"妖魔化"的极端叙事方式表现了丑恶,确立了当代小说的审丑理念。他以反传统、反规则的"审丑"叙事模式冲击真善美、和谐统一的传统审美叙事模式。他的"审丑"的目的在于想扭转一元的、单一化的审美现象,使艺术模式从封闭、机械、单调向开放的、多元化的艺术形态发展。他的"审丑"也是对苏联社会政治和谐统一尺度下鲜见审丑的应激,填补了苏联审美体系因缺失"丑的力量"遗留的空白。"粪土化"、"丑陋化"和"妖魔化"构成了"审丑"叙事模式的基本形态。It＇s well-known that Soloukhin expresses the ugly and establishes the idea of ＂having an eye for the ugly＂ for contemporary novels by means of such extreme narrative fashions as ＂Dungization＂, ＂ Unsightlization＂ and ＂ Monsterization＂. With the anti-tradition and anti-rule narrative model of ＂having an eye for the ugly＂ , he challenges the traditional aesthetic narrative model, i.e. the model of the true, the good and the beautiful, or of harmony and unity. The purpose of his ＂having an eye for the ugly＂ lies in putting an end to the monotonous and single aesthetic standard and transforming the close, mechanical and monotonous artistic model into the open and pluralistic artistic form. His ＂eye for the ugly＂ is a response to the shortage of the ugly in the model of harmony and unity in the Soviet society and politics and fills in a gap in the Soviet aesthetic system for lack of ＂a power of the ugly＂. ＂Dungization＂, ＂Unsightlization＂ and ＂Monsterization＂ constitute the basic forms of the narrative model of ＂ an eye for the ugly＂.

关 键 词：索罗金 小说创作 “审丑” 叙事模式 

分 类 号：I512[文学—其他各国文学]