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《白洋淀边一次小斗争》与《芦花荡》是孙犁对《琴和萧》的改写,是孙犁对“琴和萧”这一题材的不同叙述。从这一次次的改写中,我们可以看到文本的基调由哀伤而渐变为清新,且随着叙述视角和叙述重点的转变,作者对战争之残酷的立场也由显性而转为隐性。由此,我们可以看出孙犁抗日小说创作风格的形成所留下的印迹。这种风格的形成既有着四十年代解放区阶级立场言说的特定语境,也有着孙犁自身的原因。
“Baiyangdian a minor struggle” and “Reed Hundang” are rewriting of “Qin and Xiao” by Sun Li and are the different narration by Sun Li on the theme of “Qin and Xiao”. From this time and time of rewriting, we can see that the tone of the text has gradually changed from sadness to freshness. With the change of narrative perspective and narrative emphasis, the cruel position of the author on the war has also shifted from dominance to implicitness. From this, we can see the traces left by Sun Li’s creation of anti-Japanese novels. The formation of this style has both the specific context of the class stand of the liberated areas in the 1940s and the reason why Sun Li himself is.