摘要
感官叙事是马来西亚作家朵拉的散文的重要特征。朵拉借味觉叙事将华人的节庆饮食和身份认同勾连起来,中国胃对应着中国心;借视觉叙事完成对客观物象的捕捉与提取,以文写画营建出华彩淋漓而又浓而不淫的散文世界;借触觉叙事完成触觉域到情感域的迁移,既有触碰的真实,也有感知的在场。感官叙事的背后是联觉通感,“和合”美学。通过感官叙事,朵拉在两三千字的篇幅内形成了声色可感、多元交融的“朵拉体”散文,推进了散文审美观念的更新。“拾遗”朵拉散文,在华文散文与女性散文的坐标中重新确立朵拉散文的位置有着重要的学理价值和研究空间。
Sensory narrative is an important feature of Malaysian writer Dora’s prose. With the help of gustatory narrative, Dora connects the Chinese festival food and identity, and the Chinese stomach corresponds to the Chinese heart;with the help of visual narrative, Dora completes the capture and extraction of objective objects, and builds up a colorful and dense prose world without obscenity;with the help of tactile narrative, Dora completes the migration from tactile domain to emotional domain, and there is both the reality of touching and the presence of perceiving. Behind the sensory narrative is the aesthetics of “harmony”. Through the sensory narrative, Dora has formed a “Dora-style” prose of sound, color and sensibility in two to three thousand words, and has promoted the renewal of the aesthetic concept of prose. “Picking up” Dora’s prose and re-establishing the position of Dora’s prose in the coordinates of Chinese prose and women’s prose has important theoretical value and offers ample space for further research.
出处
《华文文学》
2025年第2期71-79,共9页
Literatures in Chinese
基金
国家社科基金重大项目“香港当代报章文艺副刊整理与研究(1949-2022)”(22&ZD276)。
