当代俄罗斯女性小说创作的若干转向  

On the Internal Turns of Contemporary Russian Women's Writing

作　　者：陈方[1] Chen Fang(School of Foreign Languages,Renmin University of China,Beijing,China)

机构地区：[1]中国人民大学外国语学院,北京100872

出　　处：《外国文学》2024年第2期24-32,共9页Foreign Literature

基　　金：国家社科基金重点项目“俄国女性写作中的性别意识及其演进”(21AWW005)的阶段性成果;中国人民大学2021年度“中央高校建设世界一流大学(学科)和特色发展引导专项资金”成果。

摘　　要：俄罗斯女性文学从20世纪八九十年代发展至今,其内部发生了若干转向。女性小说创作主题呈现多样化趋势,女作家们从家庭、女性私人生活等“小主题”转向个人历史、家族历史、20世纪国家历史以及跨越性别的全人类性质主题,聚焦族裔、身份、知识分子命运以及文化记忆等问题。女性叙事从内囿、封闭、私密的空间转向更为开阔的空间,河流、城市等空间形象扩大了女性叙事的边界和范围,而梦境等非现实空间则增强了叙事张力。女性作家更加偏爱长篇小说,文学创作呈现出更加多元化的特征,风格上的杂糅、虚构和非虚构之界限的模糊成为新的趋势。上述转向折射出当代俄罗斯女性作家创作的总体特征,也体现了当代俄罗斯女性文学作品中所渗透的女性意识的不断演进。Contemporary Russian women's writing surfaced as a significant literary phenomenon in the 1980s and 1990s,and has since undergone several internal turns.The themes in women's writing have diversified,with women writers transitioning from"minor themes"such as family and women's private lives,to themes encompassing personal history,family history,national history of the twentieth century,and other themes that transcend gender differences and hold universal significance for all humans.These themes concentrate on issues of ethnicity,identity,destiny of intellectuals,and cultural memory.Women's narratives have shifted from being confined to closed and private spaces,to embracing more open spaces.The sway of neo-naturalism,neo-sentimentalism and post-modernism has waned,giving way to a new trend favoring stylistic hybridity and a blurring of the boundaries between fiction and non-fiction.These shifts mirror the changes and characteristics of women's prose in general,as well as the evolving consciousness of women that deeply ingrained in contemporary Russian women's writing.

关 键 词：当代俄罗斯文学 俄罗斯女性小说创作 女性意识 

分 类 号：I512[文学—其他各国文学]