论现代中国童话的幻想压抑——以张天翼“宝葫芦”传统叙事为例

On the Inhibition of Fantasies in Modern Chinese Fairy Tales——A Case Study of Traditional Narrative in The Magic Gourd

作为成年人的幻想在以儿童视角书写童稚幻梦时,本应天然地形成复调结构和多种叙事角度,从而出现富有极强艺术感染力的艺术作品,但是实际上现代童话书写反而呈现出鲜明的单一性,压抑了那些非教化因素的不切实际的想象表达,儿童自身那种自由奇妙的幻想少有酣畅的呈现。这类看似不切实际的幻想正是童话创作的本质因素。张天翼的《宝葫芦的秘密》就鲜明地体现出整个20世纪的中国童话在功利性文学观指导下所呈现出的强烈的教化性特征。怎样放飞儿童幻想是目前童话创作的一个重要课题,也是开创中国童话新局面的关键。

As regards adults＇ fantasies portrayed as childish aspirations in the perspective of children, the works meant for such a target should embrace a polyphonic structure and muhi-narrative perspectives so as to be of an intense artistic appeal. However, modern fairy tales have actually displayed a distinct singularity, namely the inhibition of the expression of some fantastic and non-didactic items as well as of the hearty representation of un- trammeled and marvelous fantasies unique to children, which - the seemingly fantastic illusion - is the very essen- tial element in the writing of fairy tales. Zhang Tianyu＇ s The Magic Gourd is just a clear demonstration of the dis- tinctive didactic traits of the 20th-century Chinese fairy tales dominated by the utilitarian literary view. Therefore, how to release the childish fantasies is not only a major issue facing the current fairy tale writing but also a key to o- pening up a new situation in the writing of Chinese fairy tales.