主体重塑与文化式微——论当代京味小说中旗人形象的流变  

Subject Remodeling and Cultural Declining——A Theory of the Evolvement of the Bannerman Image in the Contemporary Beijing-style Novels

作　　者：丰杰[1] FENG Jie(School of Literature and Journalism,Xiangtan University,Xiangtan,Hunan 411105)

机构地区：[1]湘潭大学文学与新闻学院,湖南湘潭411105

出　　处：《中国文学研究》2021年第1期161-167,共7页Research of Chinese Literature

基　　金：国家社会科学基金青年项目“百年文学中的辛亥革命叙事研究”(16CZW047)。

摘　　要："主体重塑"是旗人文化式微的现实语境下,旗人群体的自我调整。新中国成立后,京味小说中的旗人形象经历了三次"主体重塑"过程。60年代,老舍的《正红旗下》表现了辛亥时期旗人通过"汉化"重塑自身"国人"的主体性,展现了政治原因导致的旗人文化的急剧衰落。80年代,赵大年的《公主的女儿》、邓友梅的《那五》等作品展露了文革后旗人后裔在"汉化"外表下的寻根冲动。90年代以来,叶广芩《采桑子》《状元媒》等小说将旗人塑造为传统文化的守望者,剖析了社会转型中传统文化式微所引发的价值危机,表现出一种反现代的现代性内涵。"Subject Remodeling"is the self-adjustment of the Bannerman population under the realistic context of the Bannerman people’s cultural decline.After the founding of the People’s Republic of China,the image of the Bannerman in the Beijingstyle novels has undergone three times of"Subject Remodeling".In the early 1960s,Lao She’s work Zheng Hong Qi Xia shows that the Bannermen remodeled their subjectivity through assimilation during the Revolution of 1911,indicating the sharp decline of Bannerman culture for political reasons.In the 1980s,Zhao Da Nian’s Princess’s Daughter,Deng You Mei’s Na Wu and other works of literature showed the Bannermen’s exterior that concealed the impulse to seek their origins after the Cultural Revolution.Since the 90’s,by analyzing the crisis of value brought about by the decline of traditional culture during social transformation,Ye Guangcen’s novels such as Cultivating Mulberry Seeds and Advanced Media have moulded the Bannermen into watchers of traditional culture and expressed an Anti-modern connotation of modernity.

关 键 词：主体重塑 文化式微 京味小说 旗人形象 辛亥革命叙事 

分 类 号：I207.4[文学—中国文学]