本文選題：沙汀 + 現(xiàn)代小說��； 參考：《曲阜師范大學(xué)》2017年碩士論文

【摘要】：地理環(huán)境決定文學(xué)風(fēng)貌,對(duì)此古今中外皆有論述。中國(guó)古代的《漢書·地理志》、劉師培的《南北文學(xué)不同論》、19世紀(jì)丹納的《藝術(shù)哲學(xué)》,都強(qiáng)調(diào)了地域風(fēng)貌與人和文學(xué)之間的緊密關(guān)系。不同的地理環(huán)境造就了不同質(zhì)態(tài)的地域文化,偏于西南一隅的巴蜀文化基于封閉的地理環(huán)境呈現(xiàn)出獨(dú)特的個(gè)性,同時(shí)孕育出一批深受巴蜀文化影響的四川作家群。而沙汀因創(chuàng)作文化意蘊(yùn)渾厚的川西北文學(xué),成為現(xiàn)代文壇上獨(dú)具特色的地域作家,他的小說創(chuàng)作,正是他的故鄉(xiāng)川西北小鎮(zhèn)的真實(shí)寫照。地理環(huán)境的封閉性阻隔了巴蜀大地與外界的聯(lián)系,逐漸形成一種不受“王化”的巴蜀文化。重享樂的文化心理,好爭(zhēng)斗的社會(huì)風(fēng)氣,率性、張揚(yáng)的個(gè)性表現(xiàn)成為巴蜀文化的總特征。巴蜀人喜歡享樂,吃食、茶館、鴉片是沙汀作品中三個(gè)頗具代表性的意象,它們是川西北民眾生活方式和生存形態(tài)的縮影。沙汀有著魯迅的犀利和深刻,他借吃食、茶館、鴉片三大意象批判了川西北人麻木的精神狀態(tài)和看似熱鬧、實(shí)則陰冷沉滯的生命本質(zhì)。沙汀對(duì)巴蜀文化始終保持一種理智而強(qiáng)烈的批判態(tài)度,他的現(xiàn)代短篇小說遵從魯迅“選材要嚴(yán),開掘要深”的文學(xué)主張,專注于勾勒川西北小鎮(zhèn)的故事。沙汀通過對(duì)川西北小鎮(zhèn)這一特定地域中社會(huì)禮俗和民眾精神風(fēng)貌的描寫,塑造了底層女性、普通百姓和地方官僚三類極具巴蜀文化品格的人物形象。沙汀善于從川西北人最普通的生活中攫取片段,并巧妙地結(jié)合小說結(jié)構(gòu),使故事情節(jié)一步步發(fā)展深入,進(jìn)而宏觀地反映出封閉落后、沉寂陰郁的巴蜀生存景象。沙汀的長(zhǎng)篇“三記”(《淘金記》《還鄉(xiāng)記》《困獸記》)是對(duì)巴蜀文化長(zhǎng)幅畫卷的濃縮展示,全面刻畫了川西北小鎮(zhèn)的風(fēng)土人情。寫于1941年秋的《淘金記》最能代表沙汀獨(dú)特的創(chuàng)作風(fēng)格,封建地主婆何寡母被沙汀塑造成一個(gè)豐滿立體的“圓形人物”,她剛愎狡猾、自私精明和大膽要強(qiáng)的個(gè)性讓讀者對(duì)之既鄙夷、憤恨又同情、欽佩�？h長(zhǎng)、鄉(xiāng)長(zhǎng)、鄉(xiāng)約、聯(lián)保主任等基層官員是沙汀“三記”中的重要形象,他們?yōu)楣僖环?卻靠著手中的權(quán)利攫取利益,一團(tuán)和氣的充當(dāng)老好人,是典型的“善惡人”。地主豪紳、袍哥、兵痞、等是沙汀著重書寫的“土著人物”,他們操著鄉(xiāng)間口語和行幫黑話,活躍在茶館、煙館、酒館和祠堂里,各自為攫取更多的利益上演著“人吃人”的罪惡把戲,是典型的“爛惡人”。這幅“鄉(xiāng)鎮(zhèn)群丑圖”的勾畫,為沙汀筆下川西北小鎮(zhèn)“風(fēng)俗畫”的描繪增添了異樣的黑暗色調(diào),也使其更具層次性和深刻性。沙汀的“三記”創(chuàng)作深受巴蜀地域擺龍門陣傳統(tǒng)的影響,注重小說的故事性,同時(shí)“補(bǔ)史之缺”的方志意識(shí)也使他成功地描繪出巴蜀社會(huì)的世俗生活。
[Abstract]:The geographical environment determines the literary style and features, which has been discussed both at all times and at home and abroad. Ancient Chinese Geography of Chinese calligraphy and Liu Shipei's Theory of the difference between North and South Literature and Dana's philosophy of Art in the 19th century all emphasize the close relationship between regional style and man and literature. Different geographical environments bring up different regional cultures of different quality. The Bashu culture, which is partial to the southwest corner, presents its unique personality based on the closed geographical environment. At the same time, it gives birth to a group of Sichuan writers deeply influenced by the Bashu culture. Sha Ting has become a unique regional writer in the modern literary world because of his rich cultural connotation of Sichuan Northwest Literature. His novel creation is the true portrayal of his hometown town of Northwest Sichuan. The closeness of geographical environment obstructs the connection between Bashu land and the outside world, and gradually forms a kind of Bashu culture which is not subject to "king". The cultural psychology of hedonism, the social atmosphere of struggle, the character of frankness and publicity become the general characteristics of Bashu culture. Bashu people like to enjoy, eat, teahouse and opium are three representative images in Sha Ting's works, which are the epitome of the way of life and living form of the people in Northwest Sichuan. Sha Ting has a sharp and profound Lu Xun. He criticizes the numb mental state and seemingly lively life essence of northwest Sichuan people by eating, teahouse and opium. Sha Ting has always maintained a rational and strong critical attitude towards Bashu culture. His modern short stories follow Lu Xun's literary propositions of "strict selection of materials and deep excavation" and focus on sketching the story of the town in the northwest of Sichuan. By describing the social customs and the spirit of the people in the town of northwest Sichuan, Sha Ting created three kinds of characters with the cultural character of Ba and Shu, namely, the bottom woman, the ordinary people and the local bureaucrats. Sha Ting is good at snatching fragments from the most common life of the people in northwest Sichuan and skillfully combining the structure of the novel to make the story develop step by step and then macro reflect the survival scene of Bashu with closed backwardness and gloom. Sha Ting's "three Records" ("Gold Rush") is a concentrated display of the long picture of Bashu culture and comprehensively depicts the local customs and customs of the small town in northwestern Sichuan. Written in the fall of 1941, the Book of Gold Rush best represents Sha Ting's unique creative style. The feudal landowner and widowed mother was molded into a plump, three-dimensional "round character" by Sha Ting, and she was devious and cunning. Selfishness and boldness make the reader despise, resent, sympathize and admire it. The county chief, township chief, township chief, chief of public protection and other grassroots officials are the important figures in Sha Ting's "three Records". They are officials, but they take advantage of the power in their hands to grab benefits. They act kindly as good people and are typical "good and evil people". The landlords and gentry, gowns, soldiers and ruffians are the "aboriginal characters" that Sha Ting focuses on writing. They are active in teahouses, smoke houses, taverns and ancestral halls in rural colloquial and colloquial words. They play the evil trick of eating people in order to grab more profits, which is typical of "rotten villains". This picture of "the ugliness of villages and towns" adds a different dark tone to Sha Ting's depiction of "folk painting" in northwest Sichuan, and also makes it more hierarchical and profound. Sha Ting's creation of "three Records" is deeply influenced by the tradition of draftsmanship in Bashu region, and pays attention to the story of the novel. At the same time, the local chronicle consciousness of "making up for the lack of history" also makes him successfully depict the secular life of Bashu society.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.42

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 張瑞英;;四川現(xiàn)代鄉(xiāng)土小說的巴蜀文化淵源[J];北方論叢;2007年02期

2 鄧經(jīng)武;論何寡母形象及其巴蜀文化意蘊(yùn)[J];社會(huì)科學(xué)研究;1995年03期

3 鄧經(jīng)武;論現(xiàn)代巴蜀作家的文化品格[J];內(nèi)江師范學(xué)院學(xué)報(bào);1993年01期

4 李慶信;活生生的中國(guó)農(nóng)村末代封建階級(jí)群丑圖——論沙汀小說的反面形象系列[J];社會(huì)科學(xué)研究;1984年03期

5 吳福輝;;怎樣暴露黑暗——沙汀小說的詩(shī)意和喜劇性[J];文學(xué)評(píng)論;1982年05期

6 譚興國(guó);試論沙汀短篇小說的藝術(shù)特點(diǎn)(上)[J];成都大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);1982年01期

7 吳福輝;沙汀的創(chuàng)作道路、藝術(shù)個(gè)性和特色[J];鞍山師范學(xué)院學(xué)報(bào);1981年02期

8 王朝聞;;談?wù)劧唐≌f的藝術(shù)風(fēng)格[J];人民文學(xué);1977年11期

，

本文編號(hào)：1785220