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相比于真实的人物,蒋光慈小说中的父亲更像是一个符号,他们或是失语,或是懦弱,甚至成为主人公“进步”的阻碍;而蒋光慈小说中的母亲虽然温婉柔情,却又受到父亲形象的压抑。与此同时,父亲以外年长的男性却充当了父亲般的角色,而主人公也常常在具有母性关怀的女性恋人那里得到母亲般的抚慰。究其原因,则是“革命”与“恋爱”这一创作模式对作家创作的束缚,父亲这一符号正是蒋光慈单调的艺术处理手法的缩影。
Compared with real people, the father in Jiang Guangci’s novels is more like a symbol, they are either aphasia or cowardice, and even become the obstacle of the protagonist “Progress ”; while the mother in Jiang Guangci’s novels is gentle and tender, Also suppressed by his father’s image. At the same time, older men outside their fathers act as fathers, and protagonists are often mothers-go-getters in female couples with maternal care. The reason is that the creative mode of “revolutionary” and “love” is the writer’s creation. The symbol of father is the epitome of Jiang Guangci’s monotonous artistry.