叶弥短篇小说论

发布时间：2018-06-04 02:05

本文选题：叶弥 + 短篇小说　；参考：《南京师范大学》2017年硕士论文

【摘要】：叶弥是当代苏州作家群里独具创作个性的女作家,她不仅对短篇小说写作有独特创作理念,而且具有清醒文体意识。她专注于短篇小说的写作和革新,其创作获得了鲁迅文学奖等诸多国内奖项,还屡次被中国小说排行榜收录。叶弥的短篇小说,极具独特的思想和艺术价值,其小说文体更具有独特性,在当代小说家中别具一格。本论文旨在以叶弥的短篇创作为研究对象,从文本细读出发,力图对叶弥短篇小说进行总体把握和系统分析。本文试从短篇理念、审美内涵、文体建构、叙事艺术、价值意义五个方面展开研究和论述:第一章主要解析叶弥短篇小说观与其创作之间的关系。首先,认为叶弥的生活经历、个性对短篇小说的审美内涵、文体建构、叙事策略形成了影响;其次,通过对叶弥短篇小说的题材来源和创作手段分析,可以看出她的作品取材贴近现实但写法上具有现代意味,认为她是一个关注现实又具有现代主义精神的作家。第二章主要深入解读叶弥短篇小说的审美内涵层面。通过阐述其小说的三种情感模式:反常的情爱、诗意的情爱和悲惨的情爱,认为叶弥善于抓住小说内在的情感流动来进行创作;叶弥的写作贴近生活,作品以琐碎的日常生活为切入口,关注现代人的窥视心理和生存困境,挖掘出生活表象背后的本质内核;此外,对人的关注引发叶弥对人性的深度观照,作品极力呈现了物欲熏心对人性的冲击和异化,同时叶弥又虚构了“花码头——白菊湾”空间,通过批判现代人性的变异、塑造理想人物,表现出重建人类精神家园的文学追求。第三章主要探讨叶弥短篇小说的文体建构。采用文本细读的方法,结合短篇小说理论,认为叶弥短篇小说取材上大多采用了“横截面”式手段,以生活的片段构建故事;小说情节的组织上注重巧妙地设置线索,并注意以留白艺术扩充文本的叙事空间;小说叙事上的节制则源于含蓄、不确定性的结尾和阻断技巧的熟练运用。第四章主要分析叶弥短篇小说的叙事艺术。结构上,叶弥的短篇小说多数采用了线性结构,同时尝试了其他类型的小说结构模式;视角上,选择以全知叙事讲述故事,非常善于在一篇小说中进行视角的灵活转换;语言上,叶弥善用日常的口语,用词节制、朴素,兼具幽默、反讽形成的趣味性,和淡雅、诗意的品格。第五章则对叶弥短篇小说的文学史价值进行定位。在前文对叶弥短篇小说的审美内涵、文体构建、叙事策略的分析之上,肯定了她的短篇写作精神,并认为她为中国当代文学贡献了特立独行的小人物形象,创作呈现出重建人的精神性的文学追求;她的现实主义“小叙事”写作策略和兼具细腻、硬朗的文体风格,对当代短篇小说写作形成了启示;最后,论文评价了作家评论介入的写作特色对文本的损益效果,辩证的对叶弥短篇小说进行文学史的定位。
[Abstract]:Ye Mi is a unique female writer in the contemporary Suzhou writers group. She not only has a unique creative idea of short story writing, but also has a conscious stylistic consciousness. She focuses on the writing and innovation of short stories. She has won many domestic awards such as the Lu Xun prize in literature, and has been repeatedly included in the list of Chinese novels. The novel, which has unique ideological and artistic value, has a unique style and unique style in contemporary novelists. This thesis aims to take the short text of Ye Mi as the object of study. From the detailed reading of the text, this thesis tries to make a general grasp and analysis of Ye Mi's short stories. Construction, narrative art and value meaning are studied and discussed in five aspects: the first chapter mainly analyzes the relationship between the view of the short story of Ye Mi and his creation. First, the author thinks that the life experience of Ye Mi, the personality of the short story, the aesthetic connotation of the short story, the style construction and the narrative strategy; secondly, through the source of the subject matter of the short stories. With the analysis of the means of creation, it can be seen that her works draw close to reality but have modern meaning in writing, and that she is a writer who is concerned with reality and modernism. The second chapter is mainly to interpret the aesthetic connotation of Ye Mi short stories. By elaborating the three emotional modes of his novels, the uncommon love and poetic Love and misery love, think that Ye Mishan holds the inner emotion flow of the novel to make the creation; ye Ma's writing is close to life, the work takes the trivial daily life as the cutting entrance, pays attention to the modern people's peep psychology and the existence predicament, excavates the essential kernel behind the life appearance; in addition, the attention to people causes the leaf to the human nature. In depth, the works show the impact and alienation of the desire of materialism to the human nature. At the same time, Ye Ming also fictitious "flower Wharf - white chrysanthemum bay" space, by criticizing the variation of modern human nature, shaping the ideal characters, showing the literary pursuit of the reconstruction of the spiritual home of human beings. The third chapter mainly discusses the style construction of the short stories of Ye Mi. The method of text reading, combined with the short story theory, thinks that most of the short stories are used by the "cross section" method to construct the story with the fragments of life. The organization of the plot pays attention to the cleverly setting up the clues and pays attention to the narrative space of expanding the text with the white art; the narrative restraint of the novel is derived from implicit. The fourth chapter mainly analyzes the narrative art of Yami's short stories. On the structure, most of his short stories are linear, and other types of novel structure patterns are tried. From the angle of view, the narrative tells the story with omniscient narrative, and is very good at the perspective of a novel. In the language, in language, Ye Mishan uses daily spoken language, uses words to control, simple, humorous, ironic and elegant, poetic character. The fifth chapter makes a position on the literary history value of the short story of Ye Mi. On the preceding article, it affirms the aesthetic connotation, style construction and narrative strategy of Ye Mi short stories. Her short writing spirit, and thought that she contributed to the Chinese contemporary literature, made a unique image of small characters, and created a literary pursuit of reconstructing the spirit of the people; her realistic "small narrative" writing strategy and a delicate, hard style style made a revelation to the contemporary short story writing; finally, the paper evaluated it. The writing characteristics of writers' comments intervene the effect of the text's gains and losses, and dialectically define the literary history of Ye Mi's short stories.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.427

【参考文献】