《呼兰河传》的语言艺术研究  

A Study of the Language Art of the Tales of Hulan River

作　　者：伍金艳 

机构地区：[1]云南师范大学文学院,云南 昆明

出　　处：《世界文学研究》2024年第5期470-474,共5页World Literature Studies

摘　　要：萧红被誉为“三十年代的文学洛神”,一生的苦难经历铸就了她独特的文学体验,《呼兰河传》即她生命晚期的巅峰之作。在生命的最后一程中,萧红开始回忆起自己的故乡与童年,以极其细腻的视角追忆并写下了这部《呼兰河传》。这部作品淡化了当时的时代大背景,将呼兰河的风情人情娓娓道来,展现了她作为一名女性作家的独特感受。在文中,萧红的语言清丽而沉郁,用词具有民俗乡土特色,各式修辞的运用也使得文章的语言带有仿若儿童般的天真。文章将从民俗乡土风格的用词、极具个人特色的修辞艺术运用和散文化的语言风格三个角度来探析萧红在这部作品中的语言运用之美,品析这种语言之美对于文学作品的塑造作用。Xiao Hong is known as “the goddess of literature in the 1930s”, and her bitter life experience has shaped her unique literary experience. Tales of Hulan River is the culmination of the late stage of her life. In the last journey of her life, Xiao Hong began to remember her hometown and childhood and wrote Tales of Hulan River from an extremely delicate perspective. This work downplays the background of the time and tells the story of the Hulan River, showing her unique feelings as a writer. In the text, Xiao Hong’s language is clear and melancholy, with folk and vernacular features, and the use of various kinds of rhetoric also makes the language of the article a childlike innocence. In this paper, we analyze the beauty of Xiao Hong’s language in this work from three perspectives: the use of words in folk and vernacular style, the use of rhetorical art with great personal characteristics, and the language style of loose culture, and analyze the shaping effect of this beauty of language on the literary work.

关 键 词：萧红 《呼兰河传》 语言艺术 散文化 

分 类 号：I20[文学—中国文学]