殉情文学的叙事模式与寄寓性意象建构

The Narrative Model of Dying for Love Literature and Construction of Embedding Image

中国各民族以“殉情”为母题,以一体多元的民族文化为背景,创造了经典的殉情文学作品,“美的毁灭”产生了巨大的悲剧力量与审美效应。殉情文学多是“累世层积”的成果,是劳动人民与文人共同创作的艺术结晶,其叙事模式是相似的、程式化的,即“相爱—阻碍—反抗—殉情”,“殉情与合冢”是最核心的叙事元素。受中国传统审美价值取向与“乐而不淫、哀而不伤”的传统文学表达的影响,各民族殉情文学在结尾均基于本民族文化进行了寄寓性意象建构,使得殉情主人公“社会人”身份消解,在“彼世界”获得重生,实现了永恒的自由与幸福,从而结局“圆满”,由此也形成了中国殉情文学的经典审美范式。

With the theme of dying for love and the national culture of unity in diversity as the background,Chinese of different nationalities have created many classic works,in which the destruction of beauty has produced great tragic power and aesthetic effect.Such works cross ages,being joint creation of working people and literati.Its narrative mode is similar and stereotyped:falling in love—being obstructed—resisting—dying for love.Dying for love and being buried in one place are the core elements of narration.Affected by traditional Chinese aesthetic value and traditional literary expression of“being joyous but not indecent,mournful but not distressing”,such works embed images based on the different cultures,at last,the heroes are reborn in the other world and realize eternal freedom and happiness when they disappear in real world so that the ending has always been“satisfactory”.It has formed the classic aesthetic paradigm of Chinese literature of dying for love.