《故事新编》的“非小说性”——论文学游戏之于鲁迅历史书写的文体效应  

Non-fictionality of Lu Xun’s Old Tales Retold: On the Stylistic Effect of Literary Game on Lu Xun’s Historical Writing

作　　者：李坚怀[1] 赵光亚 Li Jianhuai;Zhao Guangya(the School of Chinese Language and Literature,Anhui Science and Technology University,Fengyang 233100,Anhui Province,China;the School of Liberal Arts,Jiangsu Second Normal University,Nanjing 210013,Jiangsu Province,China)

机构地区：[1]安徽科技学院中文系,233100 [2]江苏第二师范学院文学院,210013

出　　处：《文艺理论研究》2020年第2期130-138,共9页Theoretical Studies in Literature and Art

摘　　要：《故事新编》堪称新文学史上一曲孤独的绝响,其卓越的创造性是以非小说的面目出现的,富有形象感的现代话语恣意地侵入,与古代话语交锋碰撞,形成众声喧哗的语言形象世界,由此促成了文学话语的陌生化、审美经验上的间离感,并造就了戏仿与反讽的修辞方式。从而打破了虚实界域,消弭了历史书写的真实性,拆除了小说与非小说、文学与非文学的障碍,解构了小说固有的内在规定性。正是在鲁迅天马行空式的游戏精神支配下,这部开放式的、难以命名的天才作品才得以诞生。Lu Xun’s Old Tales Retold can be regarded as an absolutely unique voice in the history of China’s "New Literature." It demonstrates an originality as non-fictionality of the stories, with imagistic modernist discourse interacting with with the ancient discourse. This resulted in a multi-voiced image-full textual world which contributes to the alienation of literary discourse, the estrangement of aesthetic experience, and the rhetoric effect of parody and irony. It hence broke the boundaries of reality and fiction, undermined the authenticity of historical writing, removed the barriers between fiction and non-fiction as well as those between literature and non-literature, and deconstructed the inherent requirements of fiction. It is Lu Xun’s free spirit of game that impregnated such a masterpiece sui generis.

关 键 词：《故事新编》 游戏 语象 真实 虚构 文体 

分 类 号：I210.97[文学—中国文学]