什克洛夫斯基散文体小说的陌生化叙事  

Title : Theory in Literature and Similarities in Dissimilarities : The De-familiarization Narrative in Shklovsky's Prose Fiction

作　　者：赵晓彬[1,2] 

机构地区：[1]哈尔滨师范大学俄罗斯文化艺术研究中心 [2]黑龙江大学俄罗斯语言文学与文化研究中心

出　　处：《俄罗斯文艺》2015年第2期45-53,共9页Russian Literature & Arts

基　　金：国家哲学社科基金项目<形式主义诗学视野下什克洛夫斯基散文创作研究>(13BWW036)

摘　　要：俄国形式主义文论家什克洛夫斯基在上个世纪20年代创作了包括自传三部曲《感伤的旅行》、《动物园,或不谈爱情的信札,或第三个爱洛伊丝》和《第三工厂》在内的一系列散文体小说,以自述方式表达作者本人在革命、战争及新旧政治文化更迭时期的心路历程。什氏在表现革命、战争、爱情、侨民生活等显性文学主题之际,试图流露出形式主义方法这一潜性理念。本文分析和阐释了什氏自传三部曲中作家和理论家共存的双重视界、爱情和方法错和的双重主题及追溯与内省并重的双重指向,旨在揭示什氏在在文学中建构理论、不似中确立相似的陌生化叙事风格。Shklovsky, the Russian formalist literary critic and writer, wrote a series of autobiography prose fiction in the 1920s, including A Sentimental Journey, Memoirs, Zoo, or Letters Not about Love, or the Third Heloise and Third Factory. In these works, the writer employed the first person narration to express his mental process during the Revolution, the Civil War and the period of political-cultural changes. When presenting the external literary themes--revolution, war, love, expatriate life etc., Shklovsky conveyed his internal notion, the method of formalism. Starting from this point, this paper analyzes the above two works. The paper interprets his prose, focusing on his dual-vision, i. e. the vision of a writer and that of a theorist, his double theme of an incongruous and congruous union of love and method, and his double point of view of being retrospective and introspective. We try to reveal Shklovsky＇ s de-familiarization narrative style. He was inclined to construct theory in literature and identify similarities in dissimilarities.

关 键 词：什克洛夫斯基 散文体小说 陌生化 文学中的理论不似中的相似 

分 类 号：I512.074[文学—其他各国文学]