| 戴着镣铐起舞——解读《红日》的情爱叙事 |
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| 引用本文： | 郭元刚.戴着镣铐起舞——解读《红日》的情爱叙事[J].海南师范大学学报(社会科学版),2009,22(4):96-100. |
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| 作者姓名： | 郭元刚 |
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| 作者单位： | 南京大学中国现代文学研究中心,江苏,南京,210093 |
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| 摘 要： | 在十七年这样一个文学叙事放逐男女情爱的文学年代中，长篇小说《红日》与同时期同题材文本相比却存在更大篇幅的情爱叙事。《红日》中的情爱叙事不仅在文本中占有很大篇幅，涉及人物众多，而且也没有完全遵从主流叙事成规而放弃艺术表达的个性。小说中对“家庭”的重建，满足了那个文学表达中“家庭”缺位的时代的人们对“家庭”这一私人化空间的想象和认同。它还为我们塑造了一些游离于英雄群像之外的个性鲜明具有较高审美价值的人物形象。从叙事学对其考察时，我们又发现，隐蔽的叙述者使叙述权威降到了最低，而接受者却拥有了更多的再创造和不断阐释的空间。叙述中的跨性别视点和对“雄化”修辞的悖离，则更大程度上还原了女性具有独特个性又丰富多彩的心灵世界。
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| 关 键 词： | 《红日》 情爱叙事 家庭重建 叙述权威 跨性别视点 |
Love Narrative in The Red Sun Interpreted |
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| Authors: | GUO Yuan-gang |
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| Institution: | GUO Yuan-gang ( Center for Chinese Literature Studies, Nanjing University, Nanjing 210093, China) |
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| Abstract: | In the 17 years when literature was devoid of love narratives , The Red Sun contains more love narratives compared with other texts with similar themes during the same period. In The Red Sun, love narratives not only take up much space and involve many characters but also stick to its artistic expression in- stead of following mainstay narrative conventions. In the novel, family reconstruction satisfies people＇s imag- ination and approval for a family-the private space at the time when ＂ the family＂ was vacant in literature. Moreover, dehneated are some characters of distinctive individuality and great artistic value who digress from the group portraits of heroes. In terms of narrative perspectives, it is discovered that the covert narrator makes narrative authority fall to the lowest point while the receptor is granted much room for recreation and further interpretation. In the narration, the cross-gender point of view and the digression from the ＂masculin- ized＂ rhetoric have restored the individualistic and colorful heart of females to a greater extent. |
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| Keywords: | The Red Sun love narratives family reconstruction narrative authority cross-gender point of view |
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