论余华小说的父亲形象及其演化
本文选题:余华 + 父亲形象 ; 参考:《吉林大学》2017年硕士论文
【摘要】:在中国文学的浩繁卷帙里,有一类人物形象一直占据着的不可忽视的位置。它不仅在数量上引人关注,而且几经文学的变革依然在文学作品里长盛不衰。“父亲”不仅是古老中国流传下来的文化符号,铸就了华夏民族稳定的价值体系;更在漫长的社会变迁中不断衍生出新的内涵并始终影响着人们的价值观念。“父亲”的价值指向代表了人们心灵的归属感甚至成为一种精神信仰。在这样的观念影响下,一代又一代的中国作家们持续叙述着这个让他们依恋信仰却又渴望叛离的人物。“父亲”代表的文化沉疴让他们奋起反叛,寄希望于颠覆这个圣坛以追求个人的幸福与济世的理想;然而长久的文化心理的积淀又让他们常常裹足难行。既离开又怀念;既反抗又怀疑。这样的矛盾心理让父亲形象承载了一般人物形象难以具有的深刻的思想意蕴和社会内涵。余华即是这支艰难而执着前行的队伍中的一员。无论是已成为经典的《活着》、《许三观卖血记》,作为学术热点的《兄弟》和《第七天》,还是初出茅庐时的诸多短篇,余华都为中国文学贡献了无数个鲜活的父亲形象。余华的写作开始于八十年代,此时正值新的文学启蒙的开始,文学在长时间压抑的状态下终于“解冻”,“父亲”形象的塑造在第一时间成为了这一社会和文学动态的风向标:丑陋、道德沦丧的父亲形象充斥于形形色色的文学作品中。余华与其他的先锋作家共同致力于塑造突破常规的父亲形象来表达他的文学理想,也表现出了明显的疏离和个性。余华笔下的“父亲”折射着八九十年代那个狂飙突进的文学时代的风貌,同时打上了作家自己的深深烙印。梳理余华的父亲形象系列,我们可以看到反叛传统的大胆、也可以看到为传统影响的印痕;可以发现为伦理遮蔽的人性的丑恶,也可以感受到那些似善非恶的“中间凡人”带来的深刻的悲悯和博大的情怀。在当代文学似乎终于找到了那方彻底脱离传统牵绊的净土时,其实已经难以避免地陷入落入新的“传统”的危机中。余华以开启新文学的激情汇入先锋文学的潮流,又时刻以一颗冷静的内心和睿智的双眼审视当下。余华笔下的父亲形象系列为我们展现:他没有为自己设定过一条文学写作的规范和准则,也从没有认为自己属于哪个文学流派。余华只是在用“父亲”写自己、写人生、写现实。从“先锋”出发,又走向新的“先锋”。余华的父亲世界填补了我们迷失已久的人与真实,为我们提供了深刻思考文学本质的精神内涵。
[Abstract]:In the voluminous volume of Chinese literature, there is a kind of character image that can not be ignored. It not only attracts attention in quantity, but also continues to flourish in literary works after several literary changes. "Father" is not only a cultural symbol handed down from ancient China, but also a stable value system of the Chinese nation. The value of "Father" represents a sense of spiritual belonging and even a spiritual belief. Under the influence of such ideas, Chinese writers from generation to generation continue to describe the character who makes them clinging to faith but eager to rebel. "Father" represents a culture that causes them to rise up and rebel, hoping to subvert the altar in pursuit of personal happiness and the ideal of helping the world; however, the accumulation of long-term cultural psychology often makes it difficult for them to do so. Leave and miss; revolt and doubt. Such contradictory psychology makes the father image carry the profound ideological meaning and social connotation which the general character image is difficult to possess. Yu Hua is a member of this tough and persistent team. Whether it has become a classic "alive", "Xu Sanguan selling Blood", as a hot academic "Brother" and "the Seventh Day", or a lot of short stories in the early days, Yu Hua has contributed countless vivid father images to Chinese literature. Yu Hua's writing began in the 1980s, when the new literary enlightenment began, and the literature finally "thawed" in a state of prolonged repression. The creation of the image of "Father" became the vane of the social and literary trends in the first time: the ugly, morally depraved image of the father was filled with various literary works. Yu Hua and other vanguard writers committed themselves to portray his literary ideal by breaking through the conventional image of his father, and also showed obvious alienation and individuality. Yu Hua's "Father" reflects the style of the soaring literary era in the eighties and nineties, and at the same time marks the writer's own deep imprint. Combing Yu Hua's father image series, we can see the boldness of rebellious tradition, as well as the imprint of traditional influence; we can find the ugly human nature that is obscured by ethics. We can also feel the deep compassion and broad feelings brought about by the "middle mortals" who seem to be good and evil. When contemporary literature seems to have finally found the Pure Land, which is completely separated from the traditional straits, it is unavoidable to fall into the crisis of the new "tradition". Yu Hua enters the vanguard literature trend by opening the passion of new literature, and examines the present with a calm heart and wise eyes. Yu Hua's father image series shows us that he has not set a standard and criterion for his literary writing, nor has he ever considered himself to belong to any literary school. Yu Hua is just writing about himself, life and reality with his father. Starting from the vanguard, we are heading for a new vanguard. Yu Hua's father world filled our lost people and reality, and provided us with the spiritual connotation of thinking deeply about the essence of literature.
【学位授予单位】:吉林大学
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:I207.42
【参考文献】
相关期刊论文 前10条
1 李梅;;余华小说中的“双线”父亲情结探析[J];现代语文(学术综合版);2015年02期
2 周德蓓;;从“弑父”到寻父——论余华小说中父亲形象的流变[J];鸡西大学学报;2015年01期
3 姜洋;;再谈余华小说中的父亲形象[J];赤峰学院学报(汉文哲学社会科学版);2014年09期
4 张晓玉;何希凡;;执拗的不原谅——从余华长篇小说中的父亲说起[J];红河学院学报;2012年01期
5 杜杰;;屈从·反叛·重建——浅析余华、卡夫卡对“父亲”形象的塑造[J];四川教育学院学报;2011年10期
6 刘国钰;;余华父权意识悖论——以《在细雨中呼喊》为例[J];语文学刊;2010年07期
7 景莹;;无根之痛:余华小说中的继父现象[J];南通大学学报(社会科学版);2008年06期
8 冯艳华;谷春雨;;余华的后现代性“弑父”叙事的文化动因和审美意义[J];山东省青年管理干部学院学报;2008年04期
9 宋平;;从解构到重构——论余华小说中父亲形象的变迁[J];常熟理工学院学报;2007年11期
10 胡秦葆;刘瑶春;;余华小说对“父亲”形象的颠覆与重构[J];广州大学学报(社会科学版);2007年09期
相关硕士学位论文 前3条
1 蔚洁;反叛与回归[D];西北大学;2013年
2 李小吉;论余华小说中的“父亲”[D];辽宁师范大学;2010年
3 牛雅莉;余华小说父性意识研究[D];兰州大学;2009年
,本文编号:1808345
本文链接:https://www.wllwen.com/wenyilunwen/hanyuyanwenxuelunwen/1808345.html