看不见的地方如何呈现“俗”与“变”——论《流俗地》对地方感的营构  

How Can Invisible Places Represent the Vulgar and the Change:On the Construction of the Sense of a Place in Vulgar Land

作　　者：朱云霞[1,2] Zhu Yunxia

机构地区：[1]中国矿业大学人文与艺术学院中文系 [2]中国矿业大学澳大利亚研究中心

出　　处：《华文文学》2022年第3期76-82,共7页Literatures in Chinese

基　　金：江苏省高校哲学社会科学研究重大项目“现代传媒与台港澳文学发展研究”,项目号:2021SJZDA099。

摘　　要：黎紫书是马华文坛极具影响力的新生代作家,与享誉盛名的赴台马华小说家对离散经验的表述不同,她更注重立足马华本土表现在地性,长篇新作《流俗地》最突出的特点,也在于书写地方的角度、营构地方感的方式尤为独特。论文认为《流俗地》以盲女作为叙述主体,通过家庭性话语、可对话空间、坊间意识营构的是和见证式时空叙事相对应的另一种地方感,叙事在“不见”与“洞见”之间沉潜,是作者试图不带标签或偏见地呈现地方变迁背后不同个体/群体的情感归属与文化经验,探寻多元对话、包容与救赎的可能,既是对个人创作的超越,也是努力为马华文学寻求创新的表现。Li Zishu is a writer of the new generation with a powerful influence in the Chinese Malaysian world of letters.However, unlike Chinese Malaysian writers who went to Taiwan and wrote about their experience of dispersal, she prefers to stay on the native Chinese Malaysian land and express the sense of place as her new novel, Vulgar Land, is unique with its angle of writing about the place and the way of constructing it as well. This article is of the opinion that Vulgar Land uses the blind girl as the narrative subject and constructs a sense of another place through the familial discourse, space for possible dialogue and construction of street consciousness, with the narrative floating up and down between the invisible and insightful,an attempt on the part of the author to represent the emotional belonging and cultural experience of different individuals/groups behind the transformation of place, in a way that carries no labels or prejudice, seeking the possibility of pluralistic dialogue,tolerance and redemption, an expression of transcendence beyond one’s own creation and efforts to find new ways of innovation in Chinese Malaysian literature.

关 键 词：黎紫书 《流俗地》 地方感 

分 类 号：I106[文学—世界文学]