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《金瓶梅》、《醒世姻缘传》、《林兰香》、《红楼梦》和《歧路灯》等长篇小说以家庭生活为描写中心,并且在艺术上具有传承关系,在小说史上形成了新的类型,现代研究者因此将它们称为“家庭小说”。但是,人们在认识家庭小说的“家庭”时,往往将它们直接等同于现实世界的家庭,看作是对现实生活的反映。这在很大程度上遮蔽了小说“家庭”形象的创造性。家庭小说的家庭本质上是一种“审美组织”,家庭构成了作为特定小说类型的美学基础。家庭由宅院、日常生活等一系列时空体形式交织而成,主人公的形象,丰富的性格,复杂的人物关系正是通过这些时空体得以充分地建构。小说的家庭最终呈现的是生活世界的幻象。家庭小说的独立,关键是“家庭”在进入小说后获得了建构功能、具有形式意义。因此,从小说自身的家庭图式出发,家庭小说的文学性研究才可能会获得深入。
Novels of Jin Ping Mei, The Awakening Marriage, Lin Lanxiang, A Dream of Red Mansions and Qutong Lamps are center of description of family life, and have inheritance relations in art, forming a new type in the history of novels, Modern researchers therefore call them “family novels.” However, when people recognize the “family” of family novels, they often regard them directly as the real-world families as reflections of real life. This largely obscured the creativity of the novel “family”. The family novel is essentially an “aesthetic organization,” and the family forms the aesthetic foundation of a particular type of novel. The family is intertwined with a series of space-time bodies such as houses and daily life. It is through these space-time bodies that the protagonist’s image, rich personality and complicated personages are fully constructed. The novel’s family eventually presents the illusion of a living world. The key to the independence of family novels is that the “family” gained the formal function after entering the novel. Therefore, starting from the family’s own schemata, the literary study of family novels may get further.