新现实主义之眼:叶·扎米亚京早期小说的视觉诗学  

Neorealistic eyes:visual poetics in Yevgeny Zamyatin’s early novels

作　　者：王虹元 Wang Hongyuan(Peking University)

机构地区：[1]北京大学外国语学院俄语系

出　　处：《欧亚人文研究（中俄文）》2024年第3期72-79,86,87,91,共11页Eurasian Humanities Studies

基　　金：国家社科基金重大项目“俄罗斯诗学学派研究”(项目批准号:22&ZD286)的阶段性研究成果。

摘　　要：叶·扎米亚京是俄罗斯白银时代新现实主义文学的代表作家和理论阐释者。他主张兼收现实主义的取材视野与象征主义的表现风格,以简洁笔触描绘倏忽而过的主观印象,破除表面的“似真”,借由荒诞和夸张的书写抵达个体的心理真实和时代的内在特质。本文拟从作家的新现实主义创作观出发,以其早期中短篇小说为例,结合装饰散文特征和维谢洛夫斯基的“心理平行”理论,从失序空间和自然物象两方面阐析作家独特的视觉呈现手法。这种视觉呈现风格贯穿扎米亚京的创作生涯,展现出作家回归心理真实、亲近民间信仰与神话思维的审美倾向。Yevgeny Zamyatin is a representative writer and theorist of the Russian Silver Age neorealistic literature.He emphasizes the combination of realistic materials and a symbolistic writing style,and uses brief and compact brushstrokes to depict fleeting subjective impressions,breaking away from superficial“seeming truth”.Moreover,he stresses the use of an absurd,grotesque writing to reach the psychological world of individuals and the essential qualities of the era.Taking the writer’s Neorealistic literary concept as a starting point,we will look into the unique visual techniques in his early novels from two aspects:first,the fragmentation and deformation of physical space under the influence of psychology;second,the reflection of the characters’situation by nature objects.We will take into consideration features of ornamental proses and Veselovsky’s theory of“psychological parallelism”.Since this visual style was established,it was used throughout Zamyatin’s literary career,demonstrating his aesthetic tendency to return to psychological reality,his intimacy with folk beliefs,as well as his mythological thinking.

关 键 词：扎米亚京 新现实主义 装饰散文 心理平行 神话思维 

分 类 号：I512[文学—其他各国文学]