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作 者:赵艺阳 唐晴川[1] ZHAO Yi-yang(School of Art,Shaanxi Normal University,Xi'an Shaanxi 710119,China)
机构地区:[1]陕西师范大学文学院
出 处:《齐齐哈尔大学学报(哲学社会科学版)》2019年第11期95-99,共5页Journal of Qiqihar University(Philosophy & Social Science Edition)
基 金:陕西省社会科学基金项目:抒情的主体:红柯小说艺术论(2018J04)
摘 要:“荒原”自诞生以来,经由艾略特的经典书写后,不断生发延展,已经成为一个半固定式的或具有稳定内涵的象征隐喻的意象符号。而红柯中篇小说《古尔图荒原》作为“荒原书写”的一种延续与变体,不仅突破了他自身写作的“红柯印象”,也展现出一幅“中国式”的荒原图景。表面上看,荒原最终得以成功改造,但形色各异的荒原人在遭受原始暴力的袭击后,被动实现了自我的“精神归位”,并被迫恪守着“两种秩序”构成下的食物链法则。由此,人们既要承受改造荒原所必有的身体创伤,也无法规避在此过程中荒原对人的精神反噬所呈现“遗留”现象,从而红柯以“古尔图荒原”为通道,切入到对自然与人性、历史进程与现代文明等多重命题与困境的文化思考。Since its birth,"Wasteland"has been developing continuously through Eliot's classical writing,which has become a semi-fixed or stable symbolic metaphor symbol.As a continuation and variant of wasteland writing,Hong Ke's novelette Guertu wasteland not only breaks through the"impression of Hong Ke"of his own writing,but also shows a Chinese-style picture of the wasteland.On the surface,the wasteland has been eventually transformed successfully,but after being attacked by primitive violence,various wasteland people passively have realized their"spiritual return"and have been forced to abide by the food chain law under the"two orders".Thus,people not only have to bear the physical trauma to transform the wasteland,but also cannot evade the legacy phenomenon of the wasteland against human spirit in the process.Hence,Hong Ke takes the Guertu wasteland as a channel to enter into the cultural thinking of the multiple propositions and dilemmas of nature and humanity,historical process and modern civilization.
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