论茅盾“农村三部曲”中的蚕桑情节  

On Sericulture in Mao Dun's "Rural Trilogy"

作　　者：祝志满 Zhu Zhiman(College of Liberal Arts,Communication University of Zhejiang,Tongxiang,Zhejiang 314500,China)

机构地区：[1]浙江传媒学院文学院,浙江桐乡314500

出　　处：《黑龙江工业学院学报（综合版）》2022年第4期153-156,共4页Journal of Heilongjiang University of Technology(Comprehensive Edition)

基　　金：2019年度国家社科基金重大项目(课题编号:19ZDA266);2020年浙江传媒学院青年博士高层次培育项目(课题编号:ZC20PY016);2020年浙江传媒学院青年教师科研提升计划项目(课题编号:ZC20XJ026)。

摘　　要：因茅盾在嘉兴桐乡乌镇的童年经历,以及他对蚕桑历史与文化的深度探求与感知,愈加凸显江南的地域化特色。以“老通宝”与“荷花”“四大娘”为代表的形象溯源于蚕桑之地的男女形象,他们固守与抗争的个性特质反映了中国近现代的历史变迁,是男权与女权互为交锋的见证。在特定的生活境遇中,劳作于蚕桑之事的蚕农却因丰收成灾走向背弃故土之路。吴越之地的方言在茅盾的择选中愈显蚕桑之地的地域色彩与人物的复杂性格特质。The"Rural Trilogy"is based on Mao Dun's childhood experience in Wuzhen,Tongxiang,Jiaxing,as well as Mao Dun's in-depth exploration and perception of the history and culture of sericulture,which increasingly highlights the regional characteristics of Jiangnan.The images represented by"Laotongbao","Lianhua"and"Sidaniang"in the text can be traced back to the images of men and women in the land of sericulture.Their individuality of obstinacy and resistance reflects the historical changes of modern and contemporary China.It is the witness of the confrontation between male power and women's rights.In a specific life situation,the sericulturists who work in sericulture have turned to abandon their native land due to a plentiful harvest.The dialect of Wu and Yue in Mao Dun's selection shows the regional color and the complex character traits of the sericulture land.

关 键 词：茅盾 农村三部曲 蚕桑 

分 类 号：I206[文学—中国文学]