“老生”常谈,新意何来?——论《老生》的多声部叙事  

How the New Ideas Come from the Talking of the Old Stories——Discussion of the Polyphonic Voices Narrative of Laosheng

作　　者：徐玉松 

机构地区：[1]亳州学院中文与传媒系,安徽亳州236800

出　　处：《重庆文理学院学报（社会科学版）》2016年第4期52-56,共5页Journal of Chongqing University of Arts and Sciences（Social Sciences Edition)

摘　　要：贾平凹在《老生》中采取了多声部叙事策略,作者是最高层次的叙事者,其次是饱学之士的老师,最底层的叙事者是唱师。与多声部叙事相对应,《老生》的文本结构由三个层次组成。第一个层次由《山海经》部分原文组成,属于原典部分,它构成全书的意象系统,奠定了小说的格调;第二个层次由师生对话构成,这既是对《山海经》原典的阐释,又直接促成下一层次的故事讲述,它是沟通第一层次与第三层次的桥梁;第三个层次是唱师的回忆,由革命、土改、文革和改革四个时期的故事构成,呈现了"无言的历史",这是《老生》的主体部分。多声部叙事令文本系统奇崛而突兀,也使得文本的意义系统含混而丰富。Laosheng, written by Jia Pingao, takes the strategy of polyphonic voices narrative, in which the writer is the highest level of narrator, teachers is the second level and the master of singing is the lowest level of narrator. Corresponding with poly-phonic voices, the textual structure of Laosheng consists of three levels. The first level is composed of part original text of Shan Hai Jing, and it forms the image system of the whole book and shapes the style of the novel;the second level is composed of dia-logues of the teachers and students, which is the explanation of the original Shan Hai Jing, and also promotes the story telling of next level, so it is the bridge of the first level and third level;the third level is the memory of the master of singing, composing of stories in the four periods of revolution, land reform, culture revolution and reform, expressing the voiceless history, which is the main body of the Laosheng. The polyphonic voices narrative brings the astonishing and strangeness of the textual system, confu-sion but abundance in the meaning system of the text.

关 键 词：历史 叙事 文化 命运 

分 类 号：I106.4[文学—世界文学]