师陀《一片土》与五四文学传统  

Shi Tuo’s A Piece of Land and the Literary Tradition of the May 4th Movement

作　　者：司方维[1] SI Fang-wei(School of Literature,History and Media,Xuchang University,Xuchang 461000,China)

机构地区：[1]许昌学院文史与传媒学院,河南许昌461000

出　　处：《许昌学院学报》2022年第1期57-61,共5页Journal of Xuchang University

基　　金：教育部人文社会科学研究青年基金项目“京派散文与中国散文的现代转型研究”(19YJC751068)。

摘　　要：师陀的《一片土》延续了五四时期文体互融的传统,介于散文与小说之间的文体特征也与其行脚人的题材相互契合。行脚人"他"的身上有鲁迅式"过客"的深刻影响,但"他"流浪的起因是完满而非痛苦,与田汉笔下的流浪者更为相像。师陀在《一片土》中并未采用自然与社会对立的模式刻画乡土,对乡土景物人事的诗意描绘显现出京派的陶染,但"他"并不视乡土为灵魂的安宁土。因完满而跋涉,不因短暂的美好而停留,"他"的流浪不是自我与他者的对抗,而是在个体内部表达了对生命意义的迷惘与追寻。A Piece of Land continues the tradition of the integration of literary style during the May 4 th Movement, and its stylistic feature between prose and novel is also consistent with the theme of his foot-walking man.The foot-walking man has an image of Lu Xun’s passers-by, but the cause of the foot-walking man’s wandering is perfection rather than pain, which is more like the tramps by Tian Han.In A Piece of Land,Shi Tuo’s poetic description about the local scenery and personnel features the Beijing School, but the foot-walking man in A Piece of Land does not regard the local land as the tranquil place for the soul.He wandered for the sake of completeness and would not stop for the short-term beauty, and his wandering is not a confrontation between the self and the other, but expresses his confusion and pursuit of the meaning of life within the individual.

关 键 词：师陀 文体 行脚 乡土 

分 类 号：I206.6[文学—中国文学]