两种创作情结的相互扭缠——丁玲向左转时期的创作心态分析  

The Twist of Two Creative Writing Complexes:An Analysis of Ding Ling's Writing Psychology in Turning Leftist

作　　者：陈红玲[1] 

机构地区：[1]邵阳学院中文系,湖南邵阳422000

出　　处：《邵阳学院学报（社会科学版）》2013年第2期85-88,共4页Journal of Shaoyang University:Social Science Edition

基　　金：湖南省社会科学基金项目(07YBB074)

摘　　要：1929年冬至1930年底,丁玲的创作明显地从"莎菲"天地里走出来,放弃了自诉、自析式的叙述方式,趋向"革命+恋爱"的叙事模式,开始了创作的转型。然而,尽管主观上,丁玲努力表现革命的神圣与崇高;潜意识中仍保留着"五四"个性化创作立场。这两种不同的创作思想情结左右着丁玲此时期的创作,表明转型期丁玲创作心态的矛盾性。It is obvious that from the winter of 1929 to the end of 1930, Ding Ling came out of Sophie＇s world in writing, giving up her narrative mode of self-prosecution and self-analysis, following the trend of ＂revolution plus love＂, thus starting her writing transformation. Subjectively Ding Ling tried to display the sublime of revolution, but subconsciously there remained ＂May 4th＂ personalized writing position in her mind. The two different creative ideas controlled Ding Ling＇s writing in this ＂Turning Leftist＂ period, which shows the contradiction in her writing psychology.

关 键 词：丁玲 创作转型 创作心态 矛盾性 

分 类 号：I206.6[文学—中国文学]