都市话语与革命理想的暗合——刘荣恩小说创作考论

The Convergence of Urban Discourse and Revolutionary Ideals:A Study of Liu Rongen’s Novels

刘荣恩小说创作的前期基调偏向于刻画小资产阶级的“自怜自伤”情愫,在后期则有了明显的转向。模板化的资产阶级女性形象被注入了作者关于自由与革命的某些思考,从而生发出更多阐释的可能。借由笔下的都市女性群像,刘荣恩将自身的认同焦虑与价值嬗变巧妙地移植到小说之中。从“待拯救者”向“醒觉者”的转变历程,似乎正是作者自身成长轨迹的投射。而死亡、爱情与海三种意象,则成为了刘荣恩小说中重复提及的“三原色”。分析其小说作品中的情感摇摆与价值取向,有助于还原文学史叙述之外的真实现场,重塑一个更为完整的华北沦陷区文学场域。

The main tone of Liu Rongen’s early novels tends to depict the“self-pity”and“self-injury”in the petite bourgeoisie discourse,while the later period has witnessed a clear creative turning point.The stereotyped image of bourgeois women is infused with the author’s thoughts on freedom and revolution,thus giving rise to more possibilities for interpretation.Through these urban women portraits,Liu Rongen subtly transposed his own identity anxiety and value transmutation into the novel.The transformation from“those to be saved”to“those who are awake”seems to be a projection of the author’s own growth trajectory.The death,love and the sea become the“three primary colors”repeatedly mentioned in Liu Rongen’s novels.Analyzing the emotional wavering and value orientation in his fictional works can help to supply the real scene beyond the narrative of literary history and to recreate a more complete literary field of the fallen areas in North China.