从“自焚”到“自救”:《文城》的版图拓展与想象建构  

From“Self-Immolation”to“Self-Help”:Map Expansion and Imaginary Construction on Yu Hua’s Wen Cheng

作　　者：吕珺 LV Jun(Nanjing Normal University,Nanjing 210097,China)

机构地区：[1]南京师范大学,江苏南京210097

出　　处：《金华职业技术学院学报》2024年第5期59-64,共6页Journal of Jinhua Polytechnic

摘　　要：《文城》中具有线索意味的远行近似于一种具有悲情色彩的世俗朝圣,三个不同朝圣主体因始发动力的错位而导致命运脉络的错过。以海盐为核心的浙东回忆作为被余华内化的心理地标,通过沉入历史地表的方式再次复现,生发出异变新质,并因此导致文本空间上南北格局的重心失衡。官方话语失效后,由乡村社群情感维系的溪镇具有了民间共同体性质,在此,余华试图通过对中国家庭神话与乡土伦理规范的重申,提出某种位于既有创作版图之外的建构性文化想象,然而这种乡土想象在民众惰性与现代化等因素解构下,其有效性值得质疑。The clue-inspired voyage in Wen Cheng is close to a secular pilgrimage with melancholy overtones,and the three different pilgrim subjects have missed their destiny forever due to the misalignment of their initiating dynamics.As a psychological landmark internalized by Yu Hua,the memories of eastern Zhejiang,with Haiyan at its core,reappear by sinking into the surface of history,giving rise to a new quality of mutation and an imbalance of gravity in the north-south pattern of the text space.After the failure of the official discourse,Xizhen,which is emotionally maintained by rural communities,has acquired the nature of a civil community.Yu Hua tries to put forward a kind of constructive cultural imagination which is located outside the established creative map through the reiteration of Chinese family myths and local ethical norms.However,the validity of this vernacular imagination is questionable under the deconstruction of factors such as popular inertia and modernization.

关 键 词：《文城》 余华 世俗朝圣 乡土想象 

分 类 号：I207.6[文学—中国文学]