本文關(guān)鍵詞： 畢飛宇 小說(shuō)藝術(shù) 小說(shuō)觀念 語(yǔ)言 結(jié)構(gòu)　出處：《河北大學(xué)》2015年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：畢飛宇是當(dāng)代引人矚目的小說(shuō)家。他在小說(shuō)創(chuàng)作領(lǐng)域所取得的成就,與他多年來(lái)對(duì)小說(shuō)藝術(shù)的不懈探索密不可分。在小說(shuō)藝術(shù)形式的探索道路上,畢飛宇取得了不同凡響的成績(jī)。他的探索和成就,主要體現(xiàn)于其小說(shuō)觀念、小說(shuō)語(yǔ)言和小說(shuō)結(jié)構(gòu)幾個(gè)方面。童年、少年以及大學(xué)時(shí)期的閱讀經(jīng)驗(yàn)和寫(xiě)作經(jīng)驗(yàn),對(duì)古典詩(shī)歌的熱愛(ài)、對(duì)西方文哲理論的學(xué)習(xí),促使畢飛宇形成了獨(dú)特的小說(shuō)觀念和藝術(shù)理念。早期他是一個(gè)富于“想象”與“思辨”的“智者”,在小說(shuō)創(chuàng)作中,既保持天馬行空的想象,又追求抽象的思維能力,形成了一種“形而上”的理性意識(shí);1990年代中期,伴隨先鋒實(shí)驗(yàn)的退潮,畢飛宇開(kāi)始反思自己的小說(shuō)創(chuàng)作,著手嘗試“零度寫(xiě)作”,這是一種“介入現(xiàn)實(shí)”的小說(shuō)觀,作家盡可能地在作品中回避自己的情感,采用“介入式”的寫(xiě)作方式,使得小說(shuō)呈現(xiàn)出來(lái)的客觀性跟現(xiàn)實(shí)的客觀性產(chǎn)生一個(gè)對(duì)等關(guān)系;忌諱重復(fù)和不斷探索的精神始終是畢飛宇小說(shuō)創(chuàng)作的不竭動(dòng)力,不拘泥于“標(biāo)簽化”的寫(xiě)作姿態(tài),成為畢飛宇幾次轉(zhuǎn)型的自覺(jué)本能。正是這些小說(shuō)觀念的指導(dǎo)才促成畢飛宇在小說(shuō)實(shí)踐中不斷地突破和創(chuàng)新,在追求小說(shuō)藝術(shù)的道路上,逐漸凸顯自己的魅力。在語(yǔ)言方面,畢飛宇在早期的先鋒試驗(yàn)中通過(guò)對(duì)哲理化語(yǔ)言和修辭藝術(shù)的運(yùn)用,找到了自己的語(yǔ)言的“狂歡”姿態(tài)。認(rèn)識(shí)到先鋒文學(xué)的弊端后,畢飛宇開(kāi)始試圖“睜開(kāi)眼睛”,尋找自己的“語(yǔ)感”。他從先鋒語(yǔ)言向日�；Z(yǔ)言過(guò)渡,有意采用詩(shī)化語(yǔ)言風(fēng)格并關(guān)注現(xiàn)實(shí)的反諷性敘事語(yǔ)言。在近期的創(chuàng)作中,畢飛宇真正做到了讓語(yǔ)言“回家”,運(yùn)用的是一種富有日常生活氣息的輕松、平淡、質(zhì)樸的口語(yǔ)化小說(shuō)語(yǔ)言。在結(jié)構(gòu)方面,畢飛宇的小說(shuō)大致經(jīng)歷了從碎片無(wú)章的結(jié)構(gòu)模式到線性有序的復(fù)線式結(jié)構(gòu),再到以人物為中心的結(jié)構(gòu)方式幾個(gè)階段,完成了從短篇小說(shuō)、中篇小說(shuō)到長(zhǎng)篇小說(shuō)的文體探索,既借鑒西方的結(jié)構(gòu)模式,又繼承中國(guó)傳統(tǒng)的結(jié)構(gòu)方式,在中西合璧中形成了自己獨(dú)特的藝術(shù)風(fēng)格。
[Abstract]:Bi Feiyu is a contemporary novelist. His achievements in the field of novel creation are closely related to his unremitting exploration of the art of fiction for many years. Bi Feiyu has made remarkable achievements. His exploration and achievements are mainly reflected in his novel concept, novel language and novel structure, as well as his reading experience and writing experience during his childhood, adolescence and college years. His love of classical poetry and his study of western literary and philosophical theories prompted Bi Feiyu to form a unique concept of fiction and art. In the early days, he was a "wise man" rich in "imagination" and "speculation". In the creation of novels, it not only keeps the imagination in the sky, but also pursues the abstract thinking ability, which forms a kind of "metaphysical" rational consciousness. In the mid-1990s, with the decline of pioneer experiments, Bi Feiyu began to reflect on his novel creation and began to try "Zero Writing", which is a novel view of "intervening reality". Writers try to avoid their emotions in their works and adopt the "interventionist" writing method, which makes the objectivity of the novel and the objectivity of reality produce a reciprocal relationship. The spirit of taboo repetition and constant exploration has always been the inexhaustible motive force of Bi Feiyu's novel creation, and he does not stick to the writing posture of "tagging". It is the guidance of these novel concepts that makes Bi Feiyu constantly break through and innovate in the practice of novels and pursue the road of novel art. In the aspect of language, Bi Feiyu used philosophical language and rhetoric art in the early pioneer experiment. After recognizing the drawbacks of avant-garde literature, Bi Feiyu began to try to "open his eyes" to find his own "sense of language". Intended to adopt poetic language style and focus on the reality of the irony of narrative language. In the recent creation, Bi Feiyu really achieved the language "home", the use of a rich atmosphere of daily life relaxed, insipid. In terms of structure, Bi Feiyu's novels have experienced several stages, from the fragmented structure model to the linear and ordered double-line structure, and then to the personal-centered structure. The stylistic exploration from short story, medium story to long story not only draws lessons from the western structural model, but also inherits the traditional Chinese structure, and forms its own unique artistic style in the combination of Chinese and western.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：I207.42

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本文編號(hào)：1492008