寻母、浪漫与后革命时代的叙述——从《一把刀,千个字》论王安忆  

Mother Search, Romance, and the Narrative of a Post-revolutionary Era——On Wang Anyi from the Perspective of A Knife, A Thousand Words

作　　者：王植 WANG Zhi(College of Humanities,Yangzhou University,Yangzhou 225009,China)

机构地区：[1]扬州大学文学院,江苏扬州225009

出　　处：《海南师范大学学报（社会科学版）》2022年第6期48-54,共7页Journal of Hainan Normal University(Social Sciences)

摘　　要：王安忆新作《一把刀,千个字》围绕一个淮扬菜厨师陈诚的人生经历,一方面展现出较为宽广的历史时间与空间,另一方面则体现出其小说独特的叙述形式是如何建构的秘密。在前者,小说以陈诚幼年失母这一创伤事件为核心,穿梭来往于不同的历史时代和家国环境,从而编织出陈诚从小到大独特的人生选择与心路历程,也使得他对于母亲的“寻找”与想象具有相当复杂的内涵;而这一内涵能得到适宜的展现,则与小说注重“众生话语”式的叙述形式密切相关。与前者相较,后者蕴含着更加值得重视的历史思考,也体现着社会主义记忆之于王安忆的某种深刻影响,即如何在后革命时代重新“寻母”、重新思考父法、建构合宜的叙述形式的问题。Wang Anyi’s new novel A Knife, A Thousand Words, which revolves around the life experience of Chen Cheng,a Huaiyang cuisine chef, exhibits on the one hand a relatively wide historical time and space, and reflects the secret of how to construct the unique narrative form of his novel on the other hand. In the former, the novel focuses on the traumatic event of Chen Cheng losing his mother at a young age, shuttling back and forth between different historical periods and domestic and national environments, thus weaving Chen Cheng’s unique life choices and psychological journey from childhood to adulthood, and also making his “search” and imagination for his mother have quite complex connotations. The proper exhibition of of this connotation is closely related to an emphasis on the narrative form of “the discourse of all living beings” in the novel. Compared with the former, the latter contains more some historical thinking worthy of attention, and also embodies some profound influence of socialist memory on Wang Anyi, that is, how to “find the mother”again, to reconsider the law of paternity, and to construct an appropriate narrative form in the post-revolutionary era.

关 键 词：《一把刀 千个字》 王安忆 叙述形式 浪漫 后革命时代 

分 类 号：I206.7[文学—中国文学]