马卡宁小说《高加索俘虏》的隐性进程与空间重构  

Covert Progression and Spatial Reconstruction in Vladimir Makanin's The Prisoner of the Caucasus

作　　者：任晓舜 Ren Xiaoshun

机构地区：[1]首都师范大学历史学院

出　　处：《俄罗斯文艺》2024年第4期44-57,共14页Russian Literature & Arts

基　　金：国家社科基金重点项目“俄罗斯文学中‘人'的观念研究”(22AWW005)的阶段性成果。

摘　　要：短篇小说《高加索俘虏》是马卡宁重构俄罗斯文学中高加索地理空间的伟大尝试。在这部作品中,马卡宁虚构了一场吞噬人性的高加索战争,这不仅是对真实空间中第一次车臣战争的预言,而且是对俄罗斯文学传统中高加索浪漫形象的残酷解构。本论文把荒诞战争对人的异化视作小说最外层的表意轨道,即显性情节,旨在从显性情节背后挖掘出两个与之并列前行的隐性进程,它们分别聚焦俄罗斯大兵沃夫卡和鲁巴欣以独特方式反抗荒诞的生命意志。通过三重叙事运动,马卡宁构建起“征服美一追寻美”的叙事空间,表达了“美(不)能拯救世界”的双重立场。此外,马卡宁在长篇小说《亚山》中将高加索文学空间的地平线延伸至“为美负责”的层面,把饱受战乱之苦的高加索塑造为以不幸面容向俄罗斯之“我”发出责任命令的他者形象。The short story The Prisoner of the Caucasus by Vladimir Makanin represents a great endeavor to reconstruct the geographical space of the Caucasus within Russian literature.Within this story,Makanin fictionalizes a Caucasian conflict that consumes humanity,serving not only as a prophecy of the First Chechen War in reality,but also as a ruthless deconstruction of the romanticized image of the Caucasus in Russian literary tradition.This paper interprets the alienation of individuals due to an absurd war as the outermost narrative track of the novel,i.e.,its overt plot,and seeks to unveil two covert progressions that unfold in parallel from beginning to end.These hidden narratives focus on the will to survive displayed by Russian soldiers Vovka and Rubakhin who rebel against an absurd war in their own distinctive ways.Through the triple narrative movement,Makanin constructs a narrative space characterized by“conquering beauty-pursuing beauty”,thereby expressing dual authorial position on whether“beauty saves the world”.Furthermore,Makanin extends the horizon of Caucasian literary space to“being responsible for beauty”in his novel Asan,moulding the war-torn Caucasus into a figure of the Other with an unfortunate face while issuing a command of responsibility to the Russian as“me”.

关 键 词：马卡宁《高加索俘虏》隐性进程 文学地理学 他者 

分 类 号：I512.074[文学—其他各国文学]