一种新的乡土叙事方式——《秦腔》叙述视角解读  

A New Local Narration-Interpretation of the Narrative Perspective of Shaanxi Opera

作　　者：连慧英[1] 

机构地区：[1]忻州师范学院中文系,山西忻州034000

出　　处：《山西大同大学学报（社会科学版）》2013年第6期59-61,78,共4页Journal of Shanxi Datong University(Social Science Edition)

摘　　要：在《秦腔》这部长达五十万言的长篇小说中,作者放逐了传统的叙事模式,采用了一种非同寻常的叙述视角。小说以一个半疯半傻的青年农民——张引生为叙述者,以"我"的视角来讲述清风街乡民们生存和生活现状,表现城镇化对中国农村传统文明的冲击。但小说的叙述视角却不是单一和确定的:叙述者"我"的讲述时而疯癫时而清醒,内聚焦视角也突破了"始终受限"的传统模式,不时具有了"全知全能"性,小说中的"我"有时以事件参与者的身份讲述故事,有时又作为缺席者以全知视角进行叙事。贾平凹的《秦腔》无疑开启了一种新的乡土叙事方式:通过流年密集式的写法和叙述视角的转换实现了对生活原生态的还原,并寄予了作者对于一种"常"中之"变"的哲学思考和在这种变迁中的情感取向。In the 50,0000 words novel Shaanxi Opera, the author adopts an unusual narrative perspective. The narrator, a young peasant with mental problems, tells the survival and lives of the people at Qingfeng Street, showing the impact of urbanization on China＇s traditional rural culture. However, the narrative perspective is not single and determined. When the narrator ＇T＇ is telling the story, he is crazy now and then. The narrator sometimes is a participant of the matter, sometimes a absentee. Jia Pingwa＇s Shaanxi Opera begins a new local narration, which restores the real life through telling stories according to time and changing perspectives and gives writer＇s philosophy and emotions.

关 键 词：乡土叙事 秦腔 叙述视角 解读 

分 类 号：I207.425[文学—中国文学]