《呼兰河传》和《生死场》的复调艺术  

The Polyphonic Features of The Hulan River and The Dead Field

作　　者：陈红明 丁晓萍[1] CHEN Hongming;DING Xiaoping(School of Humanities,Shanghai Jiao Tong University,Shanghai 201100)

机构地区：[1]上海交通大学人文学院,上海201100

出　　处：《绍兴文理学院学报》2018年第5期66-71,共6页Journal of Shaoxing University

摘　　要：以往研究者多谈萧红小说叙述视角的复调性、小说的音乐性、审美心理的复调建构等,但鲜有注意到她笔下的小说世界充斥着各式各样的声音,呈现出鲜明的复调特征。从萧红文本中的声音出发,结合巴赫金的相关复调理论,从人与人、人与神、人与自然三个层面的对话入手,由声音对话的表层潜入主题深层,联系小说创作的社会生活背景,以一个新的角度去探索萧红《呼兰河传》和《生死场》中的艺术特征。Most scholars talk about Xiao Hong’s novels in terms of its polyphonic perspective, the musicality, and the polyphonic construction of aesthetic psychology. Xiao Hong is definitely an outstanding writer of the polyphonic narrative, but little has been mentioned that the world of her novels is filled with a variety of voices with distinctive polyphonic features. The misery of the people and the tenacity of the primitive vitality are highlighted in the dialogues between man and man, man and the God, and man and the nature. From the surface of the voice dialogue and the background of social life, the paper attempts to dive deep into the theme, and explore the artistic features of The Dead Field and The Hulan River from a new perspective.

关 键 词：萧红 《呼兰河传》 《生死场》 复调艺术 

分 类 号：I206.6[文学—中国文学]