叙事的摇摆:在女性话语与革命话语之间——《太阳照在桑干河上》中的李子俊女人形象分析

丁玲的思想和创作“向左转”后,她曾有的女性话语立场并未被革命话语立场所遮断,在《太阳照在桑干河上》中仍有延续,从叙事学角度分析,这时的女性话语已不同于“莎菲时期”的女性话语,它以潜在的、变形的方式存在;丁玲塑造李子俊女人形象的过程就是在女性话语与革命话语之间摇摆的过程,两种话语交错出现使得李子俊女人形象更真实传神;丁玲此时的女性话语立场虽较“莎菲时期”逊色,却仍显其连续性。

After the 'turning left' of Ding Ling's thoughts and writings,her female discourse position has not been stopped by her revolutionary discourse position,and it has still been continued in Sun over Sangan River.From the aspect of narratology,the female discourse in this period is different from that in 'Sophie times',which has existed in potential and deformation forms;the creative process of image of Li Zijun's wife is the process of swing between female discourse and revolutionary discourse,and the alternation of these two kinds of discourse makes the image of Li Zijun's wife more vivid and truer.Though Ding Ling's female discourse position in this period is paler than that in times of 'Sophie',it still shows its continuity.