川西民俗叙事与蔡大嫂形象的塑造--论李劼人的《死水微澜》  

Folklore Narrative of Western Sichuan and the Image of Aunt Cai--On Li Jieren’s Works Ripples in the Stagnant Water

作　　者：孙娜 SUN Na(Department of Chinese Language and Literature,Xiamen University,Xiamen Fujian 361005,China)

机构地区：[1]厦门大学中文系,福建厦门361005

出　　处：《四川职业技术学院学报》2022年第3期123-129,共7页Journal of Sichuan Vocational and Technical College

摘　　要：李劼人在《死水微澜》中采用“以风俗写史”的叙事策略来把握近代蜀地社会转型的历史经验,并将蔡大嫂置于川西民俗文化语境中表现她对时代变迁的感应,塑造出一个在传统与现代的交织中挣扎着追逐现代性的女性形象。在城乡差异日渐显明之时,蔡大嫂借助缠足来满足自己的都市欲望;在资本市场兴起之时,她利用蜀地店居与赶场的商业习俗实现了对公共空间的突围;在庆典仪式的展演过程中,她对城乡秩序与两性关系产生了现代想象。In his work Ripples in the Stagnant Water,Li Jieren describes the historical experience of social transition in modern times in Sichuan by means of the narrative strategy of telling history with customs.Besides,he put the figure Aunt Cai in the context of the folk culture of western Sichuan to express her perception for the changes of the times,creating a female image struggling to pursue modernity in the time between tradition and modernity.In the work,with the emergence of imbalance between urban and rural areas,Cai satisfied her urban desires by dint of foot-binding;during the development of capital market,she broadened her horizon with the help of the commercial customs of inn and village fair,and during the performance of ceremony,she imagined a modern perspective of the urban-rural order and gender relations.

关 键 词：民俗叙事 死水微澜 蔡大嫂 

分 类 号：I206.6[文学—中国文学]