从先锋的幻影走入“民间”的本真——论余华《活着》《许三观卖血记》中的父亲形象

From the Vanguard Mirage into the " Folk" Authenticity——On the Father Figure of Yu Hua's Fiction of " Living" and " Chronicle of a Blood Merchant"

在新时期文学启蒙阶段,先锋派作家通过塑造极端的"恶父"形象来控诉旧时代,达到文学革新的目的,这种写作方式甚至演化成了一种理论预设。同样是在先锋文学的环境里开始写作的余华,却并未跟从这个模式来塑造父亲形象,其先锋时期作品里的血腥和暴力是他真实经历过的社会在心中的映像,"幻影型父亲"象征了摧残人的生命和心灵的时代。到了"民间"时期,这种以现实为源泉的映像得以延伸,"父亲"重新回到现实和传统之中。通过《活着》和《许三观卖血记》中的福贵和许三观这两个"本真型父亲"形象的解析,足以让我们重新审视在无法改变的社会漩涡里,普通人的存在和生命内在的意义以及探究自然人性的重要价值。在余华用个体经验构建起的文学世界里,那些被文学潮流遮蔽已久的文学真实与本质得以充分展现,余华用父亲形象重新找回当代文学缺失的自然与本真。

In the new period literature initiation stage,the avant-garde writers achieve the purpose of literary revolution through ＂evil father＂ image.This way of writing even evolved into a default theory.Yu Hua began to write in the context of pioneer literature,but Yu did not follow this pattern to shape his father＇s image.The blood and violence in the pioneer works are the reflection of Yu Hua＇s real experience,and the ＂phantom＂ father symbolizes the time destroying man＇s life and soul.In the period of ＂folk＂,the images originated from the reality extended,and ＂father＂ returned to reality and tradition.From the ＂true fathers＂ in ＂ Living＂ and ＂ Chronicle of a Blood Merchant＂,we can consider that,in the vortex society,the meaning of the existence of ordinary people and the meaning of life to explore the important value of human nature.