蒙古、藏、汉文学的交融——对尹湛纳希《一层楼》《泣红亭》的解读  

The Integration of Mongolian and Tibetan,Chinese Literature——An Interpretation of Yinzhannaxi’s A Single-storey Building and The Weeping Red Pavilion

作　　者：彩云 Caiyun(School of Mongolian Studies,Inner Mongolia Normal University,Hohhot,Inner Mongolia,China 010022)

机构地区：[1]内蒙古师范大学蒙古学学院,内蒙古呼和浩特010022

出　　处：《内蒙古师范大学学报(哲学社会科学版)》2024年第6期118-124,共7页Journal of Inner Mongolia Normal University:Philosophy and Social Sciences Edition

基　　金：国家社会科学基金青年项目“《诗镜》在蒙古地区的传播与影响研究”(19CZW057)研究成果之一。

摘　　要：蒙古族著名文学家尹湛纳希的小说《一层楼》与《泣红亭》是多民族文学交往交流交融的典型。《一层楼》《泣红亭》不仅呈现了蒙古族文学的传统审美观,同时,其小说的内容、结构与形式受我国古典名著《红楼梦》的影响,镶嵌诗又与《诗镜》字音修饰中的少数重叠法相融合。简言之,《一层楼》《泣红亭》在保留本民族文学传统和书写立场的同时,有机融合了蒙古、藏、汉等多民族文学传统的有益因素,可谓多民族文化相交融的典范之作。Mongolian writer Yinzhannaxi’A Single-storey Building and The Weeping Red Pavilion are the typi-cal examples of multi-ethnic literary exchange and integration,presenting not only the traditional aesthetic values of Mongolian literature but also the influences of the Chinese classic The Dream of Red Mansion in the content,struc-ture and form and the Poetry Mirror in the phonetic overlapping method.In short,A Single-storey Building and The Weeping Red Pavilion,while retaining the Mongolian writing characteristics and style,successfully refer to the fine factors of Chinese and Tibetan literary traditions,which could be regarded as models of the integration of multi-eth-nic cultures.

关 键 词：尹湛纳希 《一层楼》 《泣红亭》 蒙古、藏、汉文学 

分 类 号：I207.9[文学—中国文学]