从场域理论看《鹿鼎记》对“江湖”的反叛与再造  

A Look at the Rebellion Against, and Re-creation of, the ‘Rivers and Lakes’ in The Deer and the Cauldron,from the Perspective of Field Theory

作　　者：柴高洁[1] Chai Gajie

机构地区：[1]郑州中原工学院

出　　处：《华文文学》2018年第6期17-24,共8页Literatures in Chinese

摘　　要：《鹿鼎记》是金庸的收官之作,其"特立独行"的叙事,脱离了传统武侠小说对"江湖"和"侠"的结构模式。以布尔迪厄的场域理论切入,从场域、惯习、资本入手,可以发现《鹿鼎记》中江湖场域结构被重组,延展了传统江湖的场域空间,并改变了江湖场域的力量构型和位置,而新的"资本"在江湖场域中获得合法的有效性,也导致江湖场域中出现韦小宝式的另类"侠客"。本文尝试梳理《鹿鼎记》"创新"之内在逻辑,进而发现金庸对自我写作和对传统武侠小说解构的决心和高明之处。The Deer and the Cauldron,the last novel by Louis Cha Jin Yong,has a unique style of narration that is detached from the traditional martial arts fiction in its structural mode of‘the Rivers and Lakes’and‘Chivalry’.If we cut in from Bourdieu’s field theory and begin with field,habitus and capital,we may find that the field of rivers and lakes in The Deer and the Cauldron is rearranged so that the field of traditional rivers and lakes is extended and the power structure and position of the field of rivers and lakes is changed,making it possible for the new capital to acquire legitimate validity in the field of rivers and lakes and leading to the appearance of an alternative knight in the character of Wei Xiaobao.This article is an attempt to tease out the inner logic of creativity in The Deer and the Cauldron in order to find out about Jing Yong’s determination about self-writing and to deconstruct the traditional martial arts fiction as well as about his genius in achieving this.

关 键 词：场域理论 《鹿鼎记》 江湖 韦小宝 

分 类 号：I207[文学—中国文学]