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在吴趼人的三部写情小说《恨海》《劫余灰》和《情变》中,“情”乃至“写情”本身成为或显或潜的“解域”乃至“生成”的力量。这不仅使得作者违背初衷,突破晚清新小说“辖域化”和“再辖域化”的宏大叙事格局,而且生动塑造张棣华、朱婉贞和寇阿南这类经由“游牧”和“生成”而出的“女性少数”。她们以不由自主、难以抑制、出自本真的人之至情,消解或弱化了“男性多数”的主导及其同一性逻辑,为清末民初写情小说人物的多样性和情致的差异性,提供了新的生成途径和场域。
In Wu Mi’s three novels “hate the sea”, “rob the remains of gray” and “love change”, “love” and even “love” itself becomes or “hidden domain” and even The power of Generate This not only caused the author to violate the original intention of breaking through the grand narrative pattern of the new novels of the late Qing Dynasty and of the jurisdiction over the territory again but also vividly shaped the nomadic images of Zhang Dihua, Zhu Wanzhen and Kouanan, And “Generate ” out “Female Minority ”. They indulged or weakened the dominant of “the majority of males” and their logic of identity with the helplessness, unquenchability, and genuineness of the true people, as the diversity and sentiment difference of characters in the novels of the Qing Dynasty and the Republic of China , Provides a new generation path and field.