沈从文小说中的“窃听”叙事模式  

The “Eavesdropping” Mode in Shen Congwen’s Novels:from an Auditory Narrative Perspective

作　　者：张杰 罗义华[1] ZHANG Jie;LUO Yi-hua

机构地区：[1]中南民族大学文学与新闻传播学院,湖北武汉430074

出　　处：《中南民族大学学报（人文社会科学版）》2024年第8期160-168,188,共10页Journal of South-Central Minzu University (Humanities and Social Sciences)

基　　金：国家社会科学基金项目“清末民初新史学与中国新文学的发生”(23BZW116)。

摘　　要：窃听是一种特殊的听觉行为,在文学作品中往往承担着重要的叙事功能。学界多将沈从文的窃听书写视为对郁达夫自叙传的被动模仿,而忽视了窃听作为结构因子隐伏着沈从文在文体实验上的努力。从初期的自叙传模拟,到有意识的形式跳脱,再到多元模式开掘,窃听书写贯穿了沈从文整个创作阶段,并逐渐剥离欲望的纠缠而偷天换日般变频生成牧歌情致。在这一渐进历程中沈从文完成了从一个“窃听的人”向“讲故事的人”的成长。Eavesdropping,a distinctive auditory practice,frequently serves as an important narrative element in literature.While scholars generally perceive Shen Congwen’s eavesdropping narratives as derivative of Yu Dafu’s autobiographical style,while overlooking the structural significance of eavesdropping in Shen Congwen’s literary experimentation.Shen Congwen’s eavesdropping narratives evolve from an initial self-narrative mimicry to a conscious departure from form,culminating in a diverse exploration of narrative modes.Throughout his creative journey,this narrative technique gradually detaches from the complexities of desire,transforming into a pastoral expression of emotions.In this evolution,Shen Congwen transitions from a“eavesdropper”to a“storyteller”,marking his growth as a writer.

关 键 词：沈从文 窃听 听觉叙事 噪音 结构模式 

分 类 号：I206.6[文学—中国文学]