高建群与《最后一个匈奴》的文化原型

Gao Jianqun and Cultural Prototype of The last Hun

通过高建群其人与作品，发现高建群本人即有杜梨树之意象。陕北的革命叙述逻辑主要体现在苍凉贫穷、黄土精神、革命叙事三个方面。文章对《最后一个匈奴》中的主要人物黑大头、杨作新、白玉娥进行角色分析，同时剖析了杨作新与灯草、杨蛾子与红军战士、白玉娥与多人的苦涩爱情。最后，讨论认为：第一，从《最后一个匈奴》到《大平原》，寓示着村庄的终结，“最后”有复杂的文化学寓意；第二，我们只有在陕北民间寻找文化意义上的匈奴线索，寻找陕北人心中“匈”与“奴”组合；第三，《最后一个匈奴》是在特定历史时期对现实的超越与颠覆。

It is found that Gao Jianqun himself has the image of du pear through the study of his work. The revolutionary narrative logic in Shanbei is mainly embodied in the desolate poverty, loess, and the revolutionary narrative. The article analyzes the main characters of The la.st Hun, i.e. the black big head, Yang Zuoxin, and Bai Yu--e. At the same time, it also dissects the bitter love of Yang Zuoxin and rush, Yang moth and the red army soldiers, Bai Yu--e and many other people. Finally, there is a discussion about this question： Firstly, it indicates the end of the village from The last Hun to The Great Plains, and ＂finally＂ has a complex cultural implication. Secondly, only through the northern Shaanxi folk we can look for clues of the Huns in the cultural sense the combination of ＂Hungary＂ and ＂slave＂. Thirdly, The last Hun transcends reality and subversion during a certain historical period.