浅析王朔小说叙述中的边缘化写作——以《一半是火焰,一半是海水》为例  

A Brief Analysis of Marginal Writing in Wang Shuo’s Novel Narration——Take Half is a flame,half is a sea water as an example

作　　者：李雅萍 LI Ya-ping(School of Literature,Liaoning Normal University,Dalian 116081,China)

机构地区：[1]辽宁师范大学文学院

出　　处：《昭通学院学报》2019年第4期40-43,共4页Journal of Zhaotong University

摘　　要：王朔,一位在中国当代文化变迁的历史语境下,始终彰显其文化姿态的“文化商人”。20世纪80—90年代,文革的结束以及社会结构的大调整,王朔连同笔下的“干部子弟”一同沦为文化边缘的“末路人”。论文主要从三方面进行诠释。首先是王朔对于事件偶然性的倾力表现和人物无归宿感的着力渲染,小说的故事的发展偏向于一种宿命性,最终归于虚无。其次是深入考察王朔这个反文化、反传统“写字”作家笔下隐藏着的“才子佳人”原型。最后是王朔对于传统叙事模式中的伦理道德进行价值批判,使小说具有了反叛的意味,然而他笔下的传统爱情成为“文化边缘人”们最后的精神皈依。Wang shuo is a "cultural businessman" who always displays his cultural attitude in the historical context of Chinese contemporary cultural changes. In the 1980s and 1990s, with the end of the cultural revolution and the great adjustment of social structure, wang shuo and the "children of cadres" under his pen became the "last man" on the edge of culture. The article mainly carries on the explanation from three aspects. The first is wang shuo's strong expression of the contingency of events and his emphasis on rendering the characters' sense of no sense of belonging. The development of the story of the novel tends to be fatalistic and finally goes to nothingness. The second is to deeply investigate the prototype of wang shuo, who is a writer of anti-culture and anti-tradition. Finally, wang shuo criticized the value of ethics in the traditional narrative mode, which made the novel rebellious. However, the traditional love in his works became the final spiritual conversion of "people on the edge of culture".

关 键 词：王朔 《一半是火焰 一半是海水》 虚无主义 才子佳人模式 叛离与皈依 

分 类 号：I207.42[文学—中国文学]