贾平凹小说的乡土叙事  

The Local Narration in Jia Pingwa's Novels

作　　者：权丽桃 Quan Litao

机构地区：[1]《青海师范大学学报》编辑部,青海西宁810008

出　　处：《高原文化研究》2024年第3期122-129,共8页Plateau Culture Research

摘　　要：乡土文学是中国现当代文学的主流之一,贾平凹是乡土文学创作中具有举足轻重的一员,无论从作品的数量,还是内涵及影响力来看,贾平凹都表现出了令人可喜的成绩。贾平凹是从农村走出去的作家,受童年生活经历的影响以及独特地域文化的浸染,故乡成为其一直以来的关注焦点及创作素材。贾平凹的小说仿佛是时代的一面镜子,为我们呈现出乡土世界的风土人情及世间百态,见证了中国农村变迁的沧海桑田,同时也为我们塑造了一系列活灵活现的人物形象。贾平凹在不断地探索与调适中,叙事模式从“密实流年”向“海风山骨”转变,叙事视角在第一人称限知视角和第三人称全知视角间切换自如,通过整体与局部意象的构建,使作品的意蕴更加深刻。Local literature is one of the mainstream of contemporary Chinese literature,and Jia Pingwa is an important member of local literature creation.Jia Pingwa has shown gratifying achievements in terms of the number,connotation and influence of his works.Jia Pingwa is a writer who goes out from the countryside.Influenced by his childhood life experience and the unique regional culture,his hometown has always been the focus of his attention and the material of his creation.Jia Pingwa's novels seem to be a mirror of the times,showing us the local customs and customs of the local world,witnessing the vicissitudes of China's rural areas,and shaping a series of vivid characters for us.In the process of continuous exploration and adaptation,Jia Pingao's narrative mode changes from “dense time” to “Kaifeng Mountain”,and the narrative perspective switches freely between the first-person limited knowledge perspective and the third-person omniscient perspective.Through the construction of overall and local images,the meaning of the work is more profound.

关 键 词：贾平凹 乡土叙事 乡土小说 

分 类 号：I206.7[文学—中国文学]