原始意象与巫鬼图腾——贾平凹《山本》的新“乡土”书写

Primitive Image and Ghost Totem——New Vernacular Writings in Jia Pinwa’s Novel "Shanben"

《山本》小说是贾平凹继《老生》《极花》之后对乡土中国传统文化的进一步探寻,小说中借助革命、战争、情感来表达他对根植于乡土的巫鬼文化的值守,对乡土中国现代性的反思,小说中以原始意象,巫鬼文化,互渗律和仪式来言说世代传承的原型和图腾,对文化遗留物的执恋,都是他对逐渐式微甚至消失的传统文化的隐忧,他在小说中不断用原始意象、巫鬼文化来书写乡土中国,最终让涡镇在一片繁荣中归于寂静,回归到乡土中,是他对现代文明代替传统文化的隐忧和不满,对中国文化的现代性产生的质疑。他对《山海经》的执恋也是对根植于乡土的传统文化的值守。现代在取代传统的过程中,最终是否仍归入尘土,现代是否终将归入传统,是贾平凹一直以来的思索,也是他新“乡土中国”书写中最核心的价值。

"Shanben" is another novel by Jia Pinwa, in addition to his previous novels "Laosheng " and "Jihua", that explored traditional Chinese culture. The revolution, war, and emotion narrated in the novel expressed his persistent. attitude to the ghost culture rooted in local culture and his reflections on the modernity of rural China, and the primitive image, ghost culture, mutual infiltration law and rituals were to convey the prototype and totem passed down on generation after generation. His clinging to the cultural relic told off his worries over the local culture that was disappearing gradually or even lost. image, With the application of these techniques, the writer finally set Wozhen Village in tranquility in a booming atmosphere. The return to the local culture expressed his worries over and dissatisfaction with the replacement of the traditional culture by the modern civilization, and his doubts about the modernity of Chinese culture. His clinging to the Shanhaijing (Classics of Mountains and Seas) also expressed his persistence in the local traditional culture. Whether or not being modern will be included in being traditional has always been in Jia Pinwa's thinking, and also the core value in his writings about "rural China".