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通过解读满族说部文本我们发现,一些作品实际存在着显性与隐性并置的主题线索,从而使作品呈现出一种“双重结构”。隐性主题往往裹挟着民间社会被郁积和压抑的历史情感,藉助显性主题的展开,以一种“低调”的方式,完成某种较之正史而言相对边缘的、矛盾的、甚至相异的历史诉说。这种“诉说”在作品中虽然是片断、分散、零碎的,但因其更逼近人性的本真状态,能触动人们对人性的遐思、联想和追问,因而更具精神含量。对其剖析有助于开启多元的边缘性历史记忆,使“历史本文”原本具有的多种对话关系及多种涵义得以呈现。
By reading Manchu dialect, we find that there are actually some clues about the dominant and the recessive juxtaposition of some works, so that the work presents a “double structure.” Implicit themes often coerce the depressed and depressed historical feelings of civil society. With the help of explicit themes, they can accomplish some kind of “low-key” approach that is relatively fringe or contradictory to the official history or even Different history tells. Although this kind of “tell” is fragmented, fragmentary and fragmented in the works, it is more spiritual in that it can touch people’s reverie, association and questioning because it is closer to the true state of human nature. The analysis of it helps to open up multiple marginalized historical memories and render the many conversational relationships and various meanings inherent in “history and text ” present.