论贾平凹小说《秦腔》戏曲叙事的互文性  

On the Intertextuality of Drama Narration in Jia Pingwa’s Novel Qinqiang Opera

作　　者：何玉立 黄静[1] HE Yu-li;HUANG Jing(School of Liberal Arts,Anhui Normal University,Wuhu 241000,China)

机构地区：[1]安徽师范大学文学院

出　　处：《西安建筑科技大学学报（社会科学版）》2019年第4期96-100,共5页Journal of Xi'an University of Architecture & Technology(Social Science Edition)

摘　　要：贾平凹在作为陕西作家的基底上,将陕西秦腔融入小说创作中,《秦腔》中大量的戏曲形式为我们了解秦腔这一陕西地区独特剧种提供了丰富的资料,同时戏曲文本和小说文本构成了互文,即戏曲故事对小说叙事中的人物心理、情节预设、故事氛围产生了重要的作用,从互文性的角度看待戏曲在小说中的叙事,有助于发现文本多重意蕴和作家的创新思维,且以戏入文的创作方式既是对传统戏曲的传扬,亦是贾平凹作为当代作家责任感的极大体现。Following in the footsteps of other Shaanxi writers, Jia Pingwa Qinqiang Opera by presents abundant information of dramatic arts in his novel Qingqiang Opera for us to understand this unique drama in Shaanxi region. Simultaneously the texts of both dramas and the novel are intertextual, namely the plots of the drama play an important role in the mental world of characters, the plot presetting, story atmosphere of the novel narrative and so on. Therefore, the intertextual reading of the drama narration in the novel is helpful for us to discover the multiple meanings of the text and the creative thinking. This writing technique of employing dramas in the novel not only spreads the tradition of opera, but also greatly embodies Jia Pingwa’s sense of responsibility as a contemporary writer.

关 键 词：贾平凹 秦腔 戏曲 互文性 

分 类 号：I01[文学—文学理论]