爱欲的隐喻·表演人生·自我救赎——铁凝《海姆立克急救》面面观  

Erotic Metaphor·Performance Life·Self-redemption——Aspects of Tie Ning’s Heimlich Maneuver

作　　者：吴培显[1] 刘雅奇[1] 卿爱君[1] 

机构地区：[1]湖南师范大学文学院,湖南长沙410081

出　　处：《山西大同大学学报（社会科学版）》2013年第2期38-41,50,共5页Journal of Shanxi Datong University(Social Science Edition)

基　　金：湖南省哲学社会科学成果评审委员会立项课题(1011242A)

摘　　要：《海姆立克急救》是一篇独具内涵的小说。其意蕴首先表现为一种欲望泛滥后真情回归的双重隐喻。郭砚和马端端的故事构成的是现实生活和文学创作双重意义层面上的爱情隐喻,是爱情关系中由欲的放纵到爱的回归的隐喻,也是爱情忏悔的隐喻。其次,作品书写了一种爱与赎的表演人生。三个主人公被作家赋予了"演员"的职能,在人生中分别扮演着等爱者、赎罪者、自救者的角色,具有共性的表演行为体现出两种内在意义:爱与赎。再次,小说传达了一种爱欲的原罪与自我救赎的意旨。主人公或缺乏自救意识而在婚姻危机中迷失自我,或自我救赎意识觉醒而最终走出爱欲误区,性格迥异的三人共同诠释了在爱欲原罪中"我们都需要自救"的主题。Heimlich Maneuver is a connotative novel. First of all, the implication shows a dual metaphor of the return of true love after the surge of desire. The story of Guoyan and Ma Duanduan makes a love metaphor both in real life and the literal work. The metaphor can be understood not only as a return from lust to love in a relationship, but also as a confession to love. What＇s more, the novel writes a life of love and atonement. The three leading characters in the novel are given the role of ＂actor＂. In real life, they are playing the roles of love waiter, penitent, and self-saver separately. The similarities among these actings are love and atonement. In addition, the novel expresses the meaning of primal desire for lust and self-redemption. Some are lost themselves for the lack of the thought of self-redemption. Some come out of lust error because of self-redemption consciousness awakening. The entirely different personalities jointly illustrate the same theme of ＂everyone needs self-redemption＂ in the primal desire for lust.

关 键 词：铁凝 海姆立克急救 双重隐喻 表演人生 自我救赎 

分 类 号：I207.42[文学—中国文学]