《波动》:在伤痕叙事模式之外

“Waves”: Beyond the Trauma Narrative Mode

《波动》在相当一段时期内被贴上了"伤痕文学"的标签,但它在叙事结构和叙事手法上都进行了探索和创新,表现出不同于伤痕叙事的美学特征。首先,《波动》通过叙述视角不断转换的形式,形成叙事的多声部复调结构,从而呈现不同人物对时代的思考和对精神归宿的追寻。其次,悲剧指向的独特性,指出个人的选择对悲剧发生的重要作用。最后,《波动》运用了电影化叙事手法,如电影台词、镜头画面和蒙太奇等,试图达到小说文体与叙事层面上的突破,带来陌生化的新鲜审美体验。北岛对小说叙事的多样探索以及对复杂人性的把握值得深入探讨,他对书写真实的追求对当下写作也有启示意义。

＂ Waves＂ has been labeled as ＂trauma literature＂ for quite some time, but it has explored and inno- rated both in nan＇ative structure and narrative techniques, showing different aesthetic features from the trauma nar- rative. First of all, ＂Waves＂ forms a polyphonic structure of narrative through the continuous conversion of narra- tive perspectives, thereby presenting different people＇s thinking about the times and the pursuit of spiritual home. Second, the uniqueness of the tragic orientation which points to the important role that personal choice plays in the tragedy. In the end, ＂Waves＂ uses cinematic narrative techniques, such as movie lines, shots, and montages, try- to break through on the style and narrative level, which bring a fresh, unfamiliar aesthetic experience. Bei Dao＇s diversified exploration of novel narratives and his grasp of complex human nature deserve further discussion. His pursuit of true writing also has implications for contemporary writing.