青藏高原的行吟诗人——论阿来的文学观  

Troubadour of the Qinghai-Tibet Plateau——On A Lai’s view of literature

作　　者：栾梅健[1] Luan Meijian(Department of Chinese language and literature,Fudan University,Shanghai,200433)

机构地区：[1]复旦大学中国语言文学系,上海200433

出　　处：《山东师范大学学报（社会科学版）》2022年第2期79-89,共11页Journal of Shandong Normal University(Social Sciences)

摘　　要：阿来的文学观在中国当代作家中具有鲜明的独特性。对故土历史荣光的景仰与对当下现实的忧虑,使得这位藏族作家有着强烈的身份认同与情感焦虑,并最终成为青藏高原的行吟诗人。这具体表现在他的文学创作观念中,首先便是要求作品能够具有瑰丽的想象与飘逸的诗情,同时认为优秀的小说必然不会满足于曲折离奇的故事情节。他向往的是口传文学者那种神灵附体式的激情状况,而抒情性、心理描写和植物志则是实现这种状态的主要手段。至于语言,他认为应该是融化与吸收了藏族文化特性的现代汉语句式。由此,阿来创造出他特有的幽深沉静、丰茂华美的艺术世界。A Lai’s literary view is distinctive among the Chinese contemporary writers. The admiration for the historical glory of his native land and the sadness of the present reality endowed this Tibetan writer with a strong identity and emotional anxiety, and eventually made him a troubadour of the Qinghai-Tibet Plateau. In his specific idea of literary creation, the first requirement is that his works should have magnificent imagination and elegant poetic feeling. He believes that excellent novels must not be satisfied with the twists and turns of the plot. What he yearns for is the spiritual passion of oral literature, and lyricism, psychological description and flora are the main means to achieve this state. As for language, he thinks that he should try to use modern Chinese sentence patterns which have melt and absorbed the characteristics of the Tibetan culture. Thus, he has created his uniquely deep and quiet, rich and colorful art world.

关 键 词：阿来 文学观 自然地理 口传文学 行吟诗人 

分 类 号：I206.7[文学—中国文学]