摘要
《金瓶梅》、《醒世姻缘传》、《林兰香》、《红楼梦》和《歧路灯》等长篇小说以家庭生活为描写中心,并且在艺术上具有传承关系,在小说史上形成了新的类型,现代研究者因此将它们称为“家庭小说”。但是,人们在认识家庭小说的“家庭”时,往往将它们直接等同于现实世界的家庭,看作是对现实生活的反映。这在很大程度上遮蔽了小说“家庭”形象的创造性。家庭小说的家庭本质上是一种“审美组织”,家庭构成了作为特定小说类型的美学基础。家庭由宅院、日常生活等一系列时空体形式交织而成,主人公的形象,丰富的性格,复杂的人物关系正是通过这些时空体得以充分地建构。小说的家庭最终呈现的是生活世界的幻象。家庭小说的独立,关键是“家庭”在进入小说后获得了建构功能、具有形式意义。因此,从小说自身的家庭图式出发,家庭小说的文学性研究才可能会获得深入。
The literary works Jin Ping Mei, Marriage Destined to Awake the World, The Account of Lin, Lan and Xiang, A Dream of Red Mansions, and Lamp at the Crossroads have gradually evolved into a new genre of novels, which focus on describing family life and hence are called “family novels” by many researchers of the time. Obviously, the family images projected by the novels play a very- important role in understanding their themes. What, then, are the family images east by the novels？ This paper argues that family constructs the aesthetic basis of this special genre. Family images therein are aesthetic organizations consisting of the mixture of different chronotopes such as houses, quotidian lives, etc. The heroes, the abundant dispositions and the complicated relationships between and among characters are also sufficiently constructed by “the chronotope of family”. It is only a kind of illusion that these family images finally created. Therefore, the research on family novels possibly should start from the perspective of family images.
出处
《南京师大学报（社会科学版）》
CSSCI
北大核心
2005年第5期113-117,共5页
Journal of Nanjing Normal University(Social Science Edition)
