论明代神魔小说空间的模糊性  

On the Ambiguity of Space in Ming Dynasty’s Gods and Devils Novels

作　　者：刘雨过 LIU Yuguo(School of Literature and Media,Hechi University,Hechi,Guangxi 546300,China)

机构地区：[1]河池学院文学与传媒学院,广西河池546300

出　　处：《河池学院学报》2020年第1期13-18,共6页Journal of Hechi University

基　　金：广西高校中青年教师基础能力提升项目“明代神魔小说微观空间研究”(KY2016YB377)。

摘　　要：以《西游记》为代表的明代神魔小说构建了十分神异奇幻的多重空间,其空间的模糊性特征十分明显。无论是幻构的超现实空间,还是有所本原的现实空间,其空间位置的叙述不够清晰,天界、幽冥、人间之间的空间穿越描述较为模糊,由此而呈现的空间界限也模糊不清。神魔小说对神魔人物的形象塑造也融入模糊手法,其神性、物性、人性的融合及复杂的社会关系也进行了模糊化处理。神魔小说构建的模糊空间有着独特的审美机制,既源于人类本身的模糊思维方式,又与神魔小说的文体特点密切相关。空间的模糊性能减少现实空间与超现实空间的逻辑矛盾,打破现实束缚而利于艺术创新。The novels of gods and demons in Ming dynasty,represented by Journey to the West,have constructed a multi-space full of supernatural fantasy,and the ambiguity of the space is very obvious.No matter it is a surreal space with unreal structure or a real space with original origin,the description of its space position is not clear enough,and the description of space crossing between the heaven,the underworld and the human world is fuzzy,so the space boundary presented by it is also fuzzy.In the novels,the image of the characters of the gods and demons is blurred,and the integration of divinity,materiality,humanity and complex social relations are also blurred.The fuzzy space constructed by the divine spirit novels has a unique aesthetic mechanism,which originates from the fuzzy thinking mode of human beings and is closely related to the stylistic characteristics of the divine spirit novels.The fuzzy property of space reduces the logical contradiction between real space and surrealistic space,breaks the shackle of reality and is conducive to artistic innovation.

关 键 词：神魔小说 空间 模糊性 

分 类 号：I207.41[文学—中国文学]