空间、视角、性别——贾平凹《极花》的叙事偏移

Space, Perspective, Gender–Deviation on Narration in Jia Pingwa’s Broken Wings

叙事偏移是指作者的实际创作偏离了作品的原本构思,贾平凹《极花》的创作初衷是为被拐女性发声,但作品并未真正反映被拐者——胡蝶的身体创伤和心路历程,而是在空间、视角、性别上呈现出叙事偏移。这是因为作者的第一人称叙事视角发生断裂,在以胡蝶的口吻控诉悲惨遭遇的同时,又以温情的笔墨书写农村的生活苦难和美好道德,冷漠的暴力描写和温情的乡土书写成为叙事的一体两面。抒情笔调和视角转换回避了胡蝶悲惨遭遇的直接描写,情感伦理消解了暴力色彩,男女情爱掩饰了女性被男权压制的事实,使小说呈现出复杂的底色。

The deviation on narration in terms of space,perspective and gender of Jia Pingwa’s Broken Wings lies in the fact that the novelist originally intends to speak out for a kidnapped woman but instead shows emotional bias towards rural areas without truly depicting the physical,emotional and psychological grief of a tragedy-stricken Hu Die the heroine.This deviation is a result of the split of the novelist’s first-person narration,which relates the misery from the perspective of Hu Die while depicting gently the hard life and beautiful ethics in the village.Cold depiction of violence and warm narration of rural life form the two touches of the same pen.Thus in front of this shift of perspective and change of attitude,direct depiction of Hu Die’s tragic life becomes evasive as emotional ethics dissolves violence while erotic love shrouds suppression of women by men,making the novel complicated and multi-dimensional.