互文性写作的意义与限度——以陈彦长篇小说《主角》为例  

The Significance and Limitation of Inter-Textual Writing——Taking Chen Yan’s Novel The Protagonist as an Example

作　　者：熊钰蕾 Xiong Yulei(College of Chinese Language and Literature, Fujian Normal University,Fuzhou 350007 China)

机构地区：[1]福建师范大学文学院,福州350007

出　　处：《西安文理学院学报（社会科学版）》2020年第4期16-20,32,共6页Journal of Xi’an University(Social Sciences Edition)

摘　　要：小说《主角》延续了陈彦剧作家的某些惯性,体现了互文性的写作特色。陈彦通过设置隐喻性的人物、“以戏入文”,将小说人物与戏曲文本互涉、混合化用多种文学体裁,赋予了《主角》内涵丰富、结构特别等特点。尽管互文性写作带给《主角》诸多意义功能,但也暗含着某些有待深入分析的问题:陈彦过度依赖于戏曲与小说的互文性建构,忽略了戏外的人物刻画和情节推进,暴露了《主角》叙事艺术不够精致和主旨意蕴不够深刻等不足。总之,互文性写作使《主角》的得失均系于此。The novel The Protagonist continues some of the inertia of the playwright,Chen Yan,and embodies the inter-textual writing characteristics.By setting up metaphorical characters and“using drama into the literary”,Chen Yan intertwined novel characters and drama texts and mixed various literary genres,endowing The Protagonist with rich connotation and special structure.Although inter-textual writing brings many meanings and functions to The Protagonist,it also implies some problems that need to be analyzed in depth:Chen Yan overly relies on the inter-textual construction of drama and novel,ignoring the characterization and plot advancement outside the drama,which exposed the insufficient narrative art of The Protagonist and the lack of profound meaning of the main theme.In short,inter-textual writing makes The Protagonist both have gains and losses.

关 键 词：陈彦 《主角》 互文性写作 戏曲 

分 类 号：I247.5[文学—中国文学]