中国故事的海外沉淀——评严歌苓小说《芳华》  

Chinese Story's Formation Overseas:Comments on Yan Geling's novel Fang Hua

作　　者：张超[1] ZHANG Chao(The Liberal College,Shenyang Normal University,Shenyang,Liaoning 110034)

机构地区：[1]沈阳师范大学文学院,辽宁沈阳110034

出　　处：《绵阳师范学院学报》2018年第9期101-105,112,共6页Journal of Mianyang Teachers＇ College

摘　　要：严歌苓小说《芳华》中包含此前多部长篇的创作特色和写作母题,是作者在海外对中国故事的一次深刻沉淀。小说通过萧穗子的青春视角,以第一、三人称共存的叙事方式交合全知视角与限制视角,完成严歌苓个人经验的芳华叙事。同时,小说延续求索与逃逸的元叙述,共同指向何小曼的自我放逐,与严歌苓文化身份的不断变化形成互喻。在人与历史关系的书写上,女性主义的高扬转变为《芳华》中主体间性的平和,以人性的立场与历史展开平等的对话,共同成为严歌苓海外华文写作的新世纪特色。Fang Hua is a novel wrote by Yan Gelin, which has the creative character and creation topic of many of her full-length novels. It wrote overseas. From the youth perspective of Xiao Suizi, applying the first-person and third-person narration, this novel also combines with the omniscient perspective and limited perspective to complete the personal narration of Yan Geling. Meanwhile, the novel continues the meta-narrative of ＂researching＂ and ＂escaping＂ that commonly direct to He Xiaoman＇s self-exile. It is configurative to the cultural identity changing of Yan Gelin. As to the relationship between humans and history, the advocating of feminism has changed into the harmony of subjectivity in the novel. It also realizes the equal dialogue with the history from the standpoint of humanity. All of these has became the characteristics of Yan Geling＇s overseas Chinese writing in the new century.

关 键 词：《芳华》 叙事方式 主体间性 人性视角 

分 类 号：I24[文学—中国文学]