极简约而又极深广——《呐喊》《彷徨》的极简主义叙事特征

Extremely Minimalistic and Extremely Profound——The Minimalism Narrative Features in Nahan and Panghuang

鲁迅小说在素材、结构、情节、人物、语言、背景等各个环节都采取了“全面限制表达手段”的叙述策略,形成了极简约而又极深广的小说叙事观。《呐喊》《彷徨》小说叙事以其“格式的特别”开创了中国现代小说文体的极简主义叙事典范。《呐喊》《彷徨》人物形象的简约化,表现在以陌生化叙事、“杂取种种人”、身体叙事、独白叙事、隐形书写等方式和对不同人物角色进行的多样化塑造上。《呐喊》《彷徨》极简约而又极深广的历史主题,表现在以辫子、馒头、钢鞭、“纸糊的指挥刀”、油鸡、叭儿狗等“貌似无足轻重”的戏剧性道具上,深刻揭示了人物命运的悲剧性和历史变革的深度与广度。

Almost all the aspects of Luxun’s novels,such as material,structure,plot,characters,language and background etc,feature the narrative strategy of“comprehensively restricting means of expression”.This style formulates an extremely simplistic but quite profound novel narratology.By way of the“uniqueness of its format”,the noels of Nahan and Panghuangset up the canon of minimalism narrative for the stylistics of contemporary Chinese novels.The simplicity of character image in the two novels is manifested by such techniques as defamiliarization through narration,randomly picking-up all varieties of characters,body narration,monologue narration and metaphor.These techniques in turn shape diversified images of various kinds of characters.The historic theme is also skillfully touched,both simplistically and quite profoundly,by way of such“seemingly insignificant”dramatic props as pigtail,steamed bread,steel whip,paper-pasted sword,fatty chickens and pampered pugs etc,which profoundly reveals the tragedy of characters’fate,the depth and scope of social change as well.