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“尸骸”意象作为一种具有独特象征意义的身体写作可以体现书写者对人本身和历史的独特认知。鲁迅的“中间物”意识既立足于新文化启蒙运动的时代精神,又对看似无所不能的“现代性”抱有警惕。与其笔下“速朽”的“尸骸”意象相比,张承志在反抗和否定精神上与之相似,但在民族“心史”建构过程中走向永远新鲜的“血衣”。不同作家对“尸骸”意象的塑造展示了历史文化环境对人的塑造以及个性的经验与表述。
“Body ” image as a kind of unique symbolic body writing can reflect the writer’s unique cognition of people and history. Lu Xun’s “intermediate ” consciousness not only based on the spirit of the New Culture Enlightenment era, but also on the seemingly omnipotent “modernity ” vigilance. Compared with the “dead body” image of his “speedy death”, Zhang Chengzhi is similar in spirit to revolt and negation, but he is always facing a new trend in the process of constructing national “heart history” “. Different writers of the ”dead body" image of the shape of the historical and cultural environment of the human shape and personality experience and expression.