老舍文学经典重读与散点透视  

Lao She's Literary Classics Reread and Scatter Perspective

作　　者：王子罕 Wang Zihan(Beijing Normal University-Lu Xun Academy of Literature)

机构地区：[1]北京师范大学—鲁迅文学院

出　　处：《写作》2023年第5期98-106,共9页Writing

摘　　要：从城市地理学角度看,《骆驼祥子》呈现了幻灭的生活与折叠的北京。它书写的是“类整体”的北京,由“祥子的北京”“刘四爷的北京”“虎妞的北京”“曹先生的北京”“小福子的北京”等各路人物的个人城市生活体验融合而成。《月牙儿》中的“我”一步步陷入“儿童视角”的降格,女性苦难境遇没有使“我”完成儿童心态到成人心态的过渡,反倒强化了二者间的分离界限,使其愈加困于迷惘的儿童视角。《茶馆》掌柜王利发相当懂得“看人下菜碟”,其人称称谓相当讲究,充分考量了双方的经济、权力身份。语言的流动中,基于人际关系建构的北京也处于流动之中,不断重塑为新的样貌。From the perspective of urban geography,Rickshaw Boy presents the disillusioned life and folded Beijing.It is a“quasi-whole”Beijing,which is composed of the personal urban life experiences of Xiangzi's Beijing,Liu Siye's Beijing,Huniu's Beijing,Mr.Cao's Beijing,and Xiao Fuzi's Beijing.The“I”in the Crescent Moon falls into the degradation of“children's perspective”step by step,and the female suffering does not make“I”complete the transition from children's mentality to adult mentality,but strengthens the separation boundary between the two,making her more trapped in the confused children's perspective.In Teahouse,the shopkeeper Wang Lifa quite know how to do selective treatments.His way of calling different people in different circumstances is quite exquisite,fully consider the economic and power identity of both sides.In the flow of language using,Beijing,which is based on the construction of interpersonal relations,is also in the flow,constantly reshaping into a new appearance.

关 键 词：老舍 经典重读 城市地理 儿童视角降格 人称称谓 

分 类 号：H315[语言文字—英语]