论沈从文与大江健三郎原乡追寻的美学建构——以河流/森林为表征

On Shen Congwen and Ogokensaburo's Aesthetic Construction of the Quest for Yuan-hsiang with River and Forest as the Token

在沈从文与大江健三郎的文学世界中,河流与森林分别是其主要意象和故事得以展开的中心场所,都是建立在对原乡经验的提炼与再创造上,寄寓着对未来的一种乌托邦式想像。具有地域色彩,浸透着作家个人的成长体验和人生认知;又是与民族历史、文化精神勾连的主体意象,蕴含着民族的集体无意识想像,是作家基于人类当下生存处境而对民族历史、文化和精神的回溯及对未来的建构,表现出对原乡的追寻与基于其上的自觉的美学建构。

In the literary world of Shen Congwen and Ogokensaburo, river and forest are respectively central locations where the major image and story are based. They are constructed upon abstraction and re-creation of yuan-hsiang experience, implying a Utopian fantasy of future. The tokens are of strong regional colors, saturated with the writer＇s personal growing experience and cognition of life. As principal images in close connection with the national history, culture and spirit and containing collective unconscious imagination of a nation, they can be regarded as a way in which the writers retrospect the national history, culture and spirit, and construct a future against the present living status of human beings. It is river and forest that represent the litterateurs＂ quest for yuan-hsiang and their conscious aesthetic construction grounded upon the quest.