论贾平凹秦岭系列长篇小说的艺术结构  

On the Artistic Structure in the Series Qinling-Novels by Jia Pingwa

作　　者：郑奕然 ZHENG Yiran(School of Chinese Language and Literature,Xinyang University,Xinyang 464000,Henan,China)

机构地区：[1]信阳学院文学院,河南信阳464000

出　　处：《安康学院学报》2025年第2期83-87,共5页Journal of Ankang University

摘　　要：从20世纪八九十年代的盗匪系列、商州农村改革系列小说,到新世纪以来的《怀念狼》《古炉》《秦腔》《带灯》《老生》《山本》《秦岭记》等长篇小说,贾平凹的文学视野始终聚焦秦岭深处的农村。秦岭山地的自然资源与历史文化资源为贾平凹提供了源源不断的写作素材,促使其形成了个性鲜明的美学特征。生活真实与意象世界、秦岭历史与城市文明、历史文本与时代书写之间的对立统一构成了贾平凹秦岭山地小说多元的结构特征,呈现出真实性与神秘性、现代性与乡土性、时代性与历史性的交织,同时,也显示出作家自觉的文体意识。From the bandit series of the 1980s and 1990s,the rural reform series of the Shangzhou,to the long articles such as The Memory of the Wolves,China,The Shaanxi Opera,The Lantern Bearer,The Mountain Whisperer,The original of the mountain,Qin-ling Chronicle and other long articles The novel,Jia Pingwa's literary vision always focused on the rural areas deep in Qinling.The natural resources and historical and cultural resources of Qinling Mountain provides writers with a steady stream of writing materials,which prompts it to form a distinctive aesthetic characteristics.Life and the world of the image of the imagery,the history of the Qinling Mountains and the urban civilization,the historical text and the writing of the times constitute the diversified structural characteristics of the Jia Pingwa Qinling Mountains.Historical interweaving,at the same time,also shows the writer's conscious body awareness.

关 键 词：贾平凹 秦岭书写 艺术结构 

分 类 号：I206.7[文学—中国文学]