《浊江》和《倾城之恋》中戏剧要素的对照分析——借用视点结构相关理论

Dramatic Factors in Nigorie and Love in a Fallen City: A Comparative Analysis Based on the Theory of Perspective Structure

《浊江》和《倾城之恋》对于戏剧要素的运用,使得其文本呈现出混合小说与戏剧两种不同文学形式的跨界性。在两部作品中,人物对话中出现的戏剧要素主要体现为视点结构的运用。小说通过弱化叙述者的声音,使文本意义的多重建构成为可能,打破了权威性和绝对性的价值判断。这既是基于作家个人对于戏剧的观察和体悟,又体现出非主体叙述这一女性写作的特征和动荡时期话语权分散的历史必然性。对作为"明治的民间说书人"的樋口一叶,与自称为"自食其力的小市民"的张爱玲之作品的对照分析,可以为不同国籍作者的作品中体现出相似的集体意识这一文学现象,提供具体而微的观察渠道,深化对小说之"社会心理史"意义的认知。

Due to the dramatic factors they adopt, the texts of the two novels, i.e. Higuchi Ichiyō＇s Nigorie and Zhang Ailing＇s Love in a Fallen City are both accepted as a kind of trans-genre mixture of novel and drama. In these two works, the dramatic factors found in the characters＇ dialogues mainly concern the usage of perspective structure. By weakening the voice of the narrator, the story refutes value judgment which implies absoluteness and authority. As a result, it helps readers participate more in the recreation process. These features can be attributed not only to the personal observation and understanding of the authors themselves but to the antisubjective feature of female narration and the dispersion of civic voices representing the historical inevitability as well. A comparison between Nigorie and Love in a Fallen City can provide a concrete and microscopic channel to observe the following literary phenomenon： works written by authors from different countries can show similar collective consciousness, thus helping deepen our understanding of the social-psychological significance of novels.