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如何在文学作品中定位男性语言与女性语言这一社会现象,从而在错综复杂的对话中,描述各语言单位如何为整个作品的构成发挥其作用,是文学批评的重要课题之一。日本作家埴谷雄高的小说《死灵》以其冗长而烦琐的人物对话而著称,评论界过去只注意到这种对话形式受到俄国作家陀斯妥涅夫斯基复调风格的影响,却忽略了《死灵》人物对话中明显存在男性语言与女性语言的差距。本文分析了这些差距的特点以及这些差距随着作品的展开而发生的规律与变化,指出《死灵》登场人物语言中所表现出的性别意识决定了这部作品的性质与指向,是贯穿整篇作品的中枢神经,正是这些男女性语言碰撞时所产生的相互作用才合理地勾勒出整个故事的蓝图。
How to locate the social phenomenon of male language and female language in literary works so that describing how each language unit plays its role in the complex composition of dialogues is one of the important topics of literary criticism. Known by Japanese writer Tadanobu Tsuyoshi’s novel Necromancer, for its lengthy and cumbersome character dialogue, critics have only noticed in the past that this form of dialogue was influenced by the Russian writer Dostoevsky’s polyphony style, but ignored There is a clear gap between the male language and the female language in the dialogue of “Necromancer”. This paper analyzes the characteristics of these gaps and the regularities and changes of these gaps with the development of the works. It points out that the gender consciousness in the language of “Necromancer” debates the nature and direction of the work, The central nervous system of the works, it is the interaction between these men and women language collisions that it is reasonable to outline the blueprint of the whole story.