空白与充盈——论白先勇《台北人》的叙事策略  

Blank and Enrichment——On the Narrative Strategy of Pai Hsien-yung’s Taipei People

作　　者：刘环 LIU Huan(School of Chinese Language and Literature,Shaanxi Normal University,Xi’an Shaanxi 710000)

机构地区：[1]陕西师范大学文学院,陕西西安710000

出　　处：《牡丹江大学学报》2023年第10期50-57,共8页Journal of Mudanjiang University

摘　　要：白先勇的短篇小说集《台北人》中处处充满着“空白”的叙事艺术。在叙事视角方面,小说视角转换灵活多变,运用缺乏心理描写的全知视角,采用有距离的旁观者视角,以视角的遮蔽造成小说的“空白”;在情节设置方面,作者常进行情境化的写作,对部分故事情节进行隐没,同时采用开放式的结尾增加小说的“空白”张力;语言运用含蓄节制,但又能形成四两拨千斤的巨大情感力量。同时,小说中随处可见的象征暗讽和细节让文章在“空白”之余反而更有内涵,让“空白”不至于沦为虚无。Pai Hsien-yung’s short story collection Taipei People is full of“blank”narrative art.In the aspect of narrative perspective,the novel’s perspective is flexible and changeable.It uses the omniscient perspective which lacks psychological description,and uses the distance observer perspective,which creates the“blank”in the novel.In terms of plot setting,the author often writes contextually,conceals part of the plot,and uses an open ending to increase the“blank”tension of the novel.The use of language is reserved and restrained,but it can form a great emotional power.At the same time,the symbolic innuendo and details everywhere in the novel make the article more meaningful in addition to“blank”,so that“blank”will not be reduced to nothingness.

关 键 词：白先勇 《台北人》 “空白”理论 视角 

分 类 号：I247.7[文学—中国文学]