《繁花》声音叙事的三种呈现  

Three Presentations of Sound Narrative in Blooming Flowers

作　　者：汪贻菡 WANG Yihan(School of Chinese Language and Literature,Tangshan Normal University,Tangshan,Hebei 063000,China)

机构地区：[1]唐山师范学院文学院,河北唐山063000

出　　处：《石家庄学院学报》2025年第1期114-119,共6页Journal of Shijiazhuang University

基　　金：教育部人文社科青年项目“清末民初小说中的城乡空间书写与国家形象呈现研究”(19YJC751041)。

摘　　要：《繁花》的韵味,不只源于颇具时空感的视觉语言,亦以其极富腔调的声音叙事,辅助了独特叙事魅力的形成。《繁花》的声音叙事别具特色,主要以三种样态呈现:一是以特色鲜明的沪语方言强调其故事的上海气质,并通过“不响”塑造人物、制造冲突、烘托主题;二是以环境声标识不同人物的生存空间,并在年代乐的转换中勾勒1960—1990年代的上海都市史;三是承袭明清世俗小说宴饮叙事传统,通过人物在聚会中的闲谈、絮语和流言,营造独特的都市氛围美学。The unique charm of the novel Blooming Flowers not only stems from its visual language with a strong sense of time and space,but also from its highly tonal voice narrative.The sound narrative of Blooming Flowers is unique,mainly presents in three forms:Firstly,the distinctive Shanghai dialect emphasizes the Shanghai style of the story,and the phrase"no sound"is used to shape characters,create conflicts,and set the theme;Secondly,environmental sounds are used to identify the living spaces of different individuals,and the urban history of Shanghai from 1960 to 1990 is outlined through the transition of era music;Thirdly,it inherits the banquet narrative tradition of secular novels in the Ming and the Qing dynasties,creating a unique urban atmosphere aesthetic through characters'casual conversations,whispers,and rumors at gatherings.

关 键 词：《繁花》 声音叙事 都市小说 上海书写 

分 类 号：I207.425[文学—中国文学]