论陈彦小说《喜剧》的戏剧化书写  

On Dramatic Writing of Chen Yan's Novel The Comedy

作　　者：熊英琴 XIONG Ying-qin(School of Humanities/Research Center of Shangluo Culture&Jia Pingwa,Shangluo University,Shangluo 726000,Shaanxi)

机构地区：[1]商洛学院人文学院/商洛文化暨贾平凹研究中心,陕西商洛726000

出　　处：《商洛学院学报》2024年第1期27-32,共6页Journal of Shangluo University

基　　金：陕西省艺术科学规划项目(2022HZ1648);商洛学院人文社科项目(23SSK003)。

摘　　要：作为文体学家,陈彦的小说不仅借助戏剧戏曲元素,更以戏剧的时空结构、人物塑造、言语表现等舞台技艺深入叙事艺术内部,形成了一种崭新的戏剧化小说模式。《喜剧》尤为鲜明地体现了这一点,其场景化、脸谱化、舞台化的文学建构和审美实现,不仅标识了陈彦小说创作本身的开放性、跨界力和融通性,也显露了作家立足媒体新时代的新型文学理念与传播取向,为时代文学发展路径的开拓做了范式性探索和成功引领。As a stylist,the novels of the famous contemporary writer Chen Yan not only utilize elements of drama,but also delve into the narrative art through stage techniques such as the temporal and spatial structure of drama,character shaping,and language expression,forming a new dramatic novel model.The Comedy vividly reflects this point,with its scene based,facial and stage based literary construction and aesthetic realization.It not only marks the openness,cross-border power,and integration of Chen Yan's novel creation itself,but also reveals the author's new literary concept and communication orientation based on the media in the new era,making a paradigm exploration and successful guidance for the development path of contemporary literature.

关 键 词：陈彦小说 戏剧化 《喜剧》 美学效应 跨体写作 

分 类 号：I207.425[文学—中国文学]