摘要
王安忆的《长恨歌》从内在结构上看是由一个圆和三个三角形组成的命运图形,在王琦瑶曲折回复的人生之圆与自成体系的三段生命中,处处体现了二元对立的美学原则。《长恨歌》的静态叙事将悲剧传奇还原成一种琐细的日常人生,而其语言则在体现全文叙述特色的基础上构建着新的属于弄堂市民的上海历史。
Wang An-yi’s Changhenge is a destiny pattern which consists of one circle and three triangles in deep construction. Wang Qi-yao’s life shows the dual antithesis aesthetic principle. Changhenge’s static narration turns the legend tragedy into the everyday life, and its language not only reflects the whole work’s narrative characteristics, but also constructs Shanghai’s another history which belongs to the residents of alley.
出处
《重庆三峡学院学报》
2004年第6期32-34,共3页
Journal of Chongqing Three Gorges University
关键词
王安忆
长恨歌
叙事
Wang An-yi
Changhenge
narrative
