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曾在精神病院工作过五年的苏瓷瓷笔锋游走在现实生活中的“非常态”中,将一股阴郁的怀疑倾泄在字里行间,在类似于“一座大型的精神病院”的社会中洞察当下。在她的作品中,人与人之间的冷漠、隔绝是她的表达重点,在异常尖锐的现实情境中呈现人性中惨白的一面。在这一当下主题的表达上,苏瓷瓷常常利用母女关系,将其恶化、丑化成与传统背离的极致。在小说中,母亲形象基本上都处于一种异于常态中,如《亲爱的弟弟》、《囚》、《杀死柏拉图》、《不存在的斑马》等等。叙述的角度往往从“女儿”这一与母亲脐血相连的身份出发,对母亲的形象进行了异于常态的丑化与撕裂。
In the “non-state” of real life, the porcelain porcelain pen and feng who had worked in a mental hospital for five years dumped a gloomy suspicion into the lines of a book, similar to a “large psychiatric hospital ”In the community insight into the moment. In her works, the indifference and isolation between people are her main points of expression, showing the cruel side of human nature in the extremely sharp reality. In the expression of the current theme, Suci porcelain often use the relationship between mother and daughter, to deteriorate and demonize the extreme departure from the traditional. In the novel, the images of mothers are basically different from the normal ones, such as “dear brother”, “prisoner”, “killing Plato”, “non-existent zebra” and so on. The narrative point of view often starts from the identity of “daughter”, which is connected with the mother’s umbilical cord blood, and carries out a different vilification and tearing of the mother’s image.