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在孙犁的抗战叙事中,存在一个不容忽视的现象,那便是其诗意生成大多源于家庭生活或对于“家”的想象。具体表现为其笔底女性绝大多数具有的是“母性”与“妻性”,而很少具备“恋人性”。但写于一九四六年的《钟》却是一个特例。从文本表层来看这是一个类似“革命+恋爱”的故事。其作为间性文本的特征,鲜明地表现为,在革命宏大叙事中,交织着一段确实不无小资情调的凄美爱情故事。而从对小说文本间性特征的分析中,在某种意义上也可以窥见孙犁当时作为主流作家在参与时代歌唱的同时所潜存的隐秘内心。
In Sun Li’s narrative of war, there is a phenomenon that can not be ignored. That is, most of his poetic origins come from family life or the imagination of “home”. The concrete manifestation is that the overwhelming majority of women have “motherhood” and “wifeness”, while seldom have “loverness”. But the “bell” written in 1946 is a special case. From the surface of the text, this is a story similar to “Revolution + Love”. As a characteristic of inter-gendered text, it clearly shows that in the grand revolutionary narrative, there is a beautiful and poignant love story that is indeed not without a petty bourgeoisie. From the analysis of the sexual characteristics of novels, in a certain sense, we can also get a glimpse of the hidden secrets that Sun Li was at the same time as a mainstream writer singing while participating in the times.