论康剑散文的喀纳斯书写  

Kanas in Kang Jian’s Prose

作　　者：胡新华[1] 恒巴提·海拉提 HU Xin-hua;HengbatiHailati(College of Literature and Arts,Shihezi University,Shihezi 832003,Xinjiang,China)

机构地区：[1]石河子大学文学艺术学院,新疆石河子832003

出　　处：《石河子大学学报（哲学社会科学版）》2022年第3期115-122,共8页Journal of Shihezi University(Philosophy and Social Sciences)

基　　金：石河子大学高层次人才科研启动项目“改革开放以来文学思潮与新疆文学创作关系研究”(RWSK2018C03)。

摘　　要：在喀纳斯的书写中,康剑以聆听者身份进入到自然山水与人文之中,又以讲述者的身份将喀纳斯“山水经”在“你—我”的叙事主体建构中生动细致地传达出来。作为摄影师的他也将摄影技巧运用于散文创作中,在色彩调和、视点选择以及构图层次等方面展现出风光旖旎的喀纳斯,形成了属于自己的风景时空美学表达方式。在此基础上,康剑在散文中对喀纳斯自然环境与人文环境变化予以了深度描绘,将喀纳斯书写从地理风景的状写提升到了地方文化的建构上,体现出了作为山野守望者的他对生态保护及文化传承的深重忧思。In writing about Kanas,Kang Jian enters the natural landscape and humanities as a listener,and vividly and carefully conveys Kanas’s“Landscape Sutra”in the narrative subject construction of“you and I”as a narrator.At the same time,he,as a photographer,also uses photography skills in his prose to show the beautiful Kanas in the aspects of color harmony,viewpoint selection and composition level,thus forming his own aesthetic expression of landscape,time and space.On this basis,Kang Jian pays more attention to profound description of the changes of the ecological environment and humanistic environment in Kanas.He also promotes the writing of natural landscape in Kanas to the level of construction of local culture,which reflects his deep concern about environment protection and cultural inheritance as a mountain catcher.

关 键 词：康剑 喀纳斯 景观 文化 生态 

分 类 号：I206.7[文学—中国文学]