文學(xué)專業(yè)外文翻譯---淺談遲子建小說的立場價(jià)值

1、<p>　　On the value of the position of Chi Zijian's Novels</p><p>　　淺談遲子建小說的立場價(jià)值</p><p><b>　　Abstract</b></p><p>　　In the contemporary Chinese literature, Chi Zi

2、jian business structure out of a relatively unique literary world. Tenderness writing, shaping the abnormal, returning to nature, and the different characters of three core elements of the value of the position from diff

3、erent sides to show her head. In this paper, reflecting from the angle of the beyond the spirit of the value of Chi Zijian's Fiction limitations and that go beyond the possible path. </p><p>　　摘要：在當(dāng)代中國文學(xué)

4、中，遲子建構(gòu)建出了一個(gè)相對(duì)獨(dú)特的文學(xué)世界。溫情寫作，塑造畸異人物和回歸自然，這三個(gè)核心因素從不同的角度出發(fā)，將她的立場價(jià)值表現(xiàn)得淋漓盡致。本文從超越精神角度反思遲子建小說創(chuàng)作中的立場價(jià)值局限，并指出可能超越的途徑。</p><p>　　Keywords: Chi Zijian; the value of the position of novel; beyond the spirit</p><

5、;p>　　關(guān)鍵詞：遲子建；小說立場價(jià)值；超越精神</p><p>　　Create a unique literary world is often the writer's long-cherished wish, supports this world is the value of his position. If the general reader can indulge in liter

6、ary image of the world, broaden their horizons, update experience, enrich the spirit, then the researchers would have in-depth grasp implicit in the literary world in the value of the position of writers, Hin-yeung, its

7、universality and uniqueness, dig fat gain or loss, Looking likely. Chi Zijian much to offer the contemporary write</p><p>　　First, the value of written reflection tenderness Warm and humid part of human natu

8、re persistent concerns about the nature of Chi Zijian's novel, one of a very eye-catching, which is commonly known as paternalism. Chi Zijian's Novels warmth mainly refers to the local community between people of

9、 tolerance, understanding, caring, compassion, care, etc. contains a clear moral tone of positive emotions. On the extent of such warmth and have a distinct Confucian promote "musical rather than prostitut</p>

10、<p>　　In fact, the warmth of the limitations of writing the first love of the warmth from the Chi Zijian who appear out of character. Like Qin Qin Tu Dou ( "kiss potatoes"), Ji-xi ( "passed away Riv

11、er"), Xu 5 po ( "鴨如花"),among other images of the most fundamental characteristic is the lack of the main personality. Hegel said: "The modern world is that the main principles of freedom, that is, exi

12、sts in the spirit of the whole essence of being in all aspect(s), both in the Development process to achieve</p><p>　　Chi Zijian said that the power of tenderness is a critical strength. Tenderness critical

13、point the finger of blame is always two goals: one is the internal threat of social warmth local factors. The other is a fundamental threat to the local community, outside of modern urban civilization. The previous facto

14、r, Chi Zijian in the novel, "Silver and that" for the full show, Ma Zhanjun couples desire to make a fortune trying to get rid of the control of local warmth, then a serious threat to local s</p><p&g

15、t;　　First, the threat of negative social warmth of the local factors and local tenderness together constitute the local community, both sides are the local society lacks the performance of the main character, so this cri

16、ticism i（s) based on and the target of the criticism is based on the same, resulting in a critical null and void. Secondly, Chi Zijian critique of modern urban civilization is essentially standing in local society, and p

17、ositive values stand criticism of modern urban civilization of t</p><p>　　When in the local community, Chi Zijian guard tenderness around the world, she did not really confront the lack of local society. Fir

18、st, the local society can not cope with violence and evil alien. Of internal violence and evil, local societies tend to use human-oriented strategies, such as "silver and that" the show; but external to the vio

19、lence and evil can not cope with, such as "the right bank of the Argun" the show. Secondly, the local society because of indulging in small personal life, la</p><p>　　Second, the value of abnormal

20、reflection on different characters </p><p>　　Love of different characters of the abnormal is the distinctive feature of Chi Zijian's Novels, in the modern Chinese literature who probably second to none.

21、Virtually no novel, no abnormal Department of Chi Zijian different characters, from the "original landscape," Blessed are the crazy stupid foolish E to "Brumaire byre" in wizard-like Baozhui from &quo

22、t;snow dam of the Bride" in contrasting Liu out of the real world, ugly song to "take the berry of the people" in the conservative Heaven a big smi</p><p>　　Abnormal shape the characters are b

23、ased on a different world and an understanding of life. Chi Zijian’s prose "necessary loss" describes the author seeing a mental disorder of Dali in Yunnan, who enjoying the water under the bridge, haughty disr

24、egard of others, laughing freely, and conduct friendly. She noted that most of the mentally ill serene happiness, calm and quiet, aloof alone, unlike the utilitarian world of normal people, as Auntie gaunt, sad depressed

25、. She even this perspective in life</p><p>　　Chi Zijian the abnormal character of natural life, different values and ideals of the limits established as an extremely sharp. First of all, different personalit

26、ies abnormal escape of natural life is detached type. They are the contradictions of life to take a detached attitude of evasion, there is no ability to resolve conflicts in life and will, but completely deny the existen

27、ce of contradictions in order to mental illness, mental retardation, loss of memory disorders such forms of life, to a</p><p>　　Third, return to natural limits </p><p>　　Similarly, rather to sug

28、gest that abnormal Chi Zijian's primary feature is the different characters of the closeness of nature. "Grass Cantabile noon", the mental disorders Sheng-bao are moving on the natural feelings, he would pi

29、ck the shadow of the fence next to the walk, for fear of the evenly scattered in the middle of the road in the moonlight Caichu scars. The theme of returning to nature also manifests itself in urban and rural Chi Zijian

30、fiction writing. In the novel "On the history of t</p><p>　　Of man as man, in essence, is that he can continue to exceed the established real world. For plants and animals in terms of nature, that is, t

31、he survival of all the world; for the people, it is beyond the object must be impossible to just return the object. </p><p>　　First, the basic contradictions of human nature can not be written off in the ret

32、urn to nature, so as Chi Zijian characters shaped by those ideals, such as "fog on byre" in Baozhui, to name only the degradation of human nature, rather than human values generation. The so-called return to th

33、e natural wild, pure and happy state, it is only the author's fantasy. Ng said ": human nature, civilization and transcendence of the original, it only contains pairs of brutal conquest, also includes the aban&l

34、t;/p><p>　　Second, the urban and rural also only human beings to create different forms of civilization, and will not be relying on the countryside and nature, past 1:00, they have a higher value; If the number

35、 of city limits, on the other hand has a rural inevitable the corresponding number of limitations. Fundamentally speaking, these limitations are the externalization of the basic contradictions of human nature. Chi Zijian

36、 rural nature as measure of value only to criticize city, imagine the city, can o</p><p>　　Once again, return to natural limits will also be a destructive element of nature itself marked. Nature of life in t

37、erms of not only has a positive role in breeding and raising the same common is the destruction of life. Like Chi Zijian's "the right bank of the Argun" in so many natural disasters at any time to the sudde

38、n, people are often cold freezing to death, by natural plague threat; when the show is far from a peaceful and harmonious nature of the side, the return to nature The myth also i</p><p>　　Fundamentally speak

39、ing, people in fact can not be fully return to the natural world, people need to fully develop the spiritual world, the spiritual world is not attached to the natural world, nor assimilated into the natural world, but wi

40、th different protesting the natural world, mutual promotion. People's spiritual world must have the eco-conscious line of Life, but does not mean to give up their independence and uniqueness. Chi Zijian what seems to

41、 advocate a return to natural life, put the i</p><p>　　Fourth, yet to be established beyond the spirit </p><p>　　Whether it's the ardent tenderness of life concerns, or to the abnormal shape

42、 different characters, or is eager to return to nature, all indicate that the Chi Zijian has been established on the world and the more unique understanding of life; but she really wants to build on the world understandi

43、ng of this truth and life, must also strive to establish beyond the spiritual. Beyond the true spirit is based on the limitations of human nature (especially dilemma, paradox and complexity) of the acute</p><p

44、>　　In fact, Chi Zijian's understanding of the world and life, restricts her novels. Because she was always the level of attention to those intellectual and spiritual depth of a writer himself lower than even the t

45、rivialization of life, so almost all of the novel characters and plot in her emotional and rational control of range. Because these characters lack of deeper issues of life and life's search for passion and ability,

46、Chi Zijian the inner spirit of the novel can not be sufficiently complex a</p><p>　　The disintegration of the ultimate value is the basic situation of modern man, the modern picture of life in the vague, amb

47、iguous, and solemn people today have to face the basic facts, as to how to transcend them, and re-create a life of clarity, firmness and enrichment, it is placed in front of the arduous task of modern man. From Dostoevsk

48、y, Tolstoy to Lu Xun, Kafka, Faulkner and other writers were it not moving on this road! But the Chi Zijian's novel Quedui picture of modern life, rather dia</p><p>　　From beyond the spiritual point of v

49、iew, as in the classical manner as a simple Chi Zijian show local tenderness in the final analysis there is not much value. The most crucial thing is to show warmth to survive is to overcome difficulties presented to the

50、 full involvement of people's will and reason that there is no warmth in the main character, so that the human warmth to obtain a solid content. In the end, if making such a warmth from the contradictions and paradox

51、es of human nature bloom out</p><p>　　創(chuàng)造一個(gè)獨(dú)特的文學(xué)世界是每個(gè)作家的夙愿，而支撐此世界的就是他的立場價(jià)值。如果說一般讀者可以沉迷于文學(xué)形象世界，開闊視野，更新體驗(yàn)，豐富精神，那么研究者就得深入把握隱含在文學(xué)世界中作家的價(jià)值立場，顯揚(yáng)其普遍性與獨(dú)特性，發(fā)掘得失，展望可能。遲子建作為大有作為的當(dāng)代作家，已積聚二十余年心血建構(gòu)了頗為獨(dú)特的文學(xué)世界。通觀她五百余萬字的文學(xué)作品，

52、尤其是那些神韻生動(dòng)的小說，筆者認(rèn)為，書寫溫情、塑造畸異人物與回歸自然是三個(gè)核心因素。那么，這三個(gè)核心因素暗示出遲子建文學(xué)世界的何種價(jià)值立場？它能給我們帶來何種啟示？局限何在？可能的超越之路又何在？</p><p>　　一、溫情書寫的價(jià)值反思 </p><p>　　對(duì)人性溫暖濕潤部分的執(zhí)著關(guān)注構(gòu)成遲子建小說極為引人注目的特質(zhì)之一，這也就是人們常說的溫情主義。遲子建小說中的溫情主要是指鄉(xiāng)土社會(huì)

53、中人與人之間的寬容、諒解、體貼、同情、關(guān)愛等蘊(yùn)含著鮮明道德色彩的正面情感。這種溫情就程度而言具有鮮明的儒家所弘揚(yáng)的“樂而不淫，哀而不傷”的中庸風(fēng)格，是與鄉(xiāng)土社會(huì)中日常生活高度相融的情感，是對(duì)日常人性的呵護(hù)。從總體上看，遲子建小說中的溫情是中庸溫文、和諧優(yōu)雅甚至略帶憂傷的情感，它沒有內(nèi)在沖突，沒有熾熱力度，具有鮮明的安柔守雌的女性氣質(zhì)。這也是遲子建對(duì)人性的期望。但真正需要追問的是，遲子建小說的溫情具有內(nèi)在的真實(shí)性和價(jià)值建設(shè)意義嗎？ <

54、;/p><p>　　事實(shí)上，溫情書寫的局限性首先是從遲子建鐘愛的溫情人物身上顯現(xiàn)出來的。像秦山（《親親土豆》）、吉喜（《逝川》）、徐五婆（《鴨如花》）等人物形象最根本特點(diǎn)就是缺乏主體性人格。黑格爾曾說：“現(xiàn)代世界的原則就是主體自由，也就是說，存在于精神整體之中的一切本質(zhì)方面，都在發(fā)展過程中達(dá)到它們的權(quán)利?！盵1]主體人格是現(xiàn)代人必須具有的創(chuàng)造性人格。但遲子建的溫情人物都是些隨遇而安的被動(dòng)型人格，與生存環(huán)境間沒有任何反

55、思的距離，也沒有足夠的自主性和自律性。他們都是被人情的磁力場包圍著的鄉(xiāng)土人物，生命特質(zhì)主要是安寧、祥和、單純、自然。當(dāng)遲子建僅專注于正面素質(zhì)時(shí)，她就有意忽略了鄉(xiāng)土人物生命的另一面。其實(shí)，殘缺的另一面已經(jīng)被魯迅等啟蒙作家揭示得較為充分，那就是麻木、封閉、自大、萎縮、沉淪，最根本的是缺乏主體性。把殘缺一面納入生命的整體，遲子建就無法像現(xiàn)在這樣進(jìn)行溫情書寫了。說到底，遲子建的鄉(xiāng)土溫情往往不是具有主體人格的人之間富有熱力的情感交流和精神交流，如

56、那些能提升人生境界的愛情和友情，更多只是撫平創(chuàng)傷、安慰人生的彌補(bǔ)性情感；不是把人生導(dǎo)向健動(dòng)有為、動(dòng)態(tài)超越的創(chuàng)造性存在性情感，而僅是被動(dòng)守成、靜止凝固的重復(fù)性生存</p><p>　　遲子建曾說溫情的力量就是批判的力量。溫情批判的矛頭始終指向兩個(gè)目標(biāo)，一個(gè)是鄉(xiāng)土社會(huì)內(nèi)部威脅溫情的因素，另一個(gè)是從根本上威脅著鄉(xiāng)土社會(huì)的外來現(xiàn)代城市文明。前一個(gè)因素，遲子建在小說《白銀那》中有充分的展示，馬占軍夫婦的發(fā)財(cái)欲望試圖擺脫鄉(xiāng)土

57、溫情的控制，便嚴(yán)重威脅鄉(xiāng)土社會(huì)的溫情世界。后一個(gè)因素，遲子建在《晨鐘響徹黃昏》、《九朵蝴蝶花》、《銀盤》、《熱鳥》、《額爾古納河右岸》等小說中就竭力批判，現(xiàn)代城市文明對(duì)于遲子建而言意味著溫情的反面。更進(jìn)一步說，遲子建的溫情批判更是一種迷思。</p><p>　　首先，威脅溫情的鄉(xiāng)土社會(huì)負(fù)面因素和鄉(xiāng)土溫情構(gòu)成了鄉(xiāng)土社會(huì)的一體兩面，都是鄉(xiāng)土社會(huì)缺乏主體人格的表現(xiàn)，因此這種批判的根據(jù)和批判對(duì)象的根據(jù)是同一的，從而導(dǎo)致了

58、批判的無效。其次，遲子建對(duì)現(xiàn)代城市文明的批判實(shí)質(zhì)上是站在鄉(xiāng)土社會(huì)的正面價(jià)值立場上來批判現(xiàn)代城市文明的負(fù)面因素。這種批判是對(duì)于鄉(xiāng)土社會(huì)的負(fù)面因素和現(xiàn)代城市文明的正面因素的雙重遮蔽。遲子建的溫情批判不是使鄉(xiāng)土社會(huì)更充分意識(shí)到自身不足，從而走向開放與創(chuàng)造，而是使鄉(xiāng)土社會(huì)加強(qiáng)了自身的封閉和保守。</p><p>　　當(dāng)遲子建守護(hù)鄉(xiāng)土社會(huì)的溫情世界時(shí)，她沒有真正直面鄉(xiāng)土社會(huì)的欠缺。首先，鄉(xiāng)土社會(huì)無法應(yīng)對(duì)外來的暴力與邪惡。對(duì)

59、內(nèi)部的暴力與邪惡，鄉(xiāng)土社會(huì)往往采用人情化的策略，如《白銀那》所展示的；但對(duì)外來的暴力和邪惡卻無法應(yīng)對(duì)，如《額爾古納河右岸》所展示的。其次，鄉(xiāng)土社會(huì)中的人由于沉溺于狹小的個(gè)人生活，缺乏主體性，對(duì)稍微廣大點(diǎn)的世界，如超出家庭和村落的國家和社會(huì)的政治、經(jīng)濟(jì)與精神問題不感興趣，就最容易滋生專制體制。當(dāng)專制體制一旦形成，無法制約的權(quán)力往往就會(huì)反過來摧殘鄉(xiāng)土社會(huì)。那時(shí)，所有溫情欲保存而不得，所有逍遙欲行而不能。更根本的是，鄉(xiāng)土社會(huì)由于封閉保守，把人

60、的精神和心靈需求極大簡化，不利于人的發(fā)展，遲子建欣賞的那種簡樸與純潔是人性發(fā)展的最低階段，這種簡樸和純潔是以對(duì)精神的豐富和心靈的多姿多彩的犧牲為代價(jià)的。此外，由于缺乏實(shí)質(zhì)的精神主體性，鄉(xiāng)土社會(huì)中的人若無法獲得鄉(xiāng)土溫情的照顧或?qū)︵l(xiāng)土溫情不滿時(shí)，就很容易墮入徹底的物質(zhì)化、欲望化和實(shí)利化中，例如，《白銀那》中的馬占軍夫婦，《一匹馬兩個(gè)人》中的薛敏母女。</p><p>　　二、畸異人物的價(jià)值反思 </p>

61、<p>　　對(duì)畸異人物的酷愛是遲子建小說的鮮明特點(diǎn)，在中國現(xiàn)代文學(xué)中恐怕無出其右者。幾乎沒有哪部遲子建小說中沒有畸異人物，從《原始風(fēng)景》中癡憨有福的傻娥到《霧月牛欄》中精靈般的寶墜，從《雪壩下的新娘》中反襯出現(xiàn)實(shí)世界丑陋的劉曲到《采漿果的人》中保守天道相視而笑的大魯、二魯，從《樹下》中漫步鄉(xiāng)村的大歡、二嫚到《偽滿洲國》中大放異彩的阿永、拳頭，再到《額爾古納河右岸》中似有大智慧的安道兒、安草兒和西班，真可謂星羅棋布，星漢燦爛。

62、</p><p>　　塑造畸異人物是基于對(duì)世界與人生的一種理解。遲子建散文《必要的喪失》敘述作者在云南大理看到個(gè)精神失常者，憑眺橋下流水，旁若無人，嬉笑自如，為人友善。她注意到，精神病者大都快樂安詳、平和寧靜、超然獨(dú)處，不像功利世界中的正常人那樣勞心憔悴、憂愁郁悶。她甚至由此透視人生，得參妙道：真正的人生需伴以必要的喪失。短篇小說《盲人報(bào)攤》就頗能體現(xiàn)遲子建這種“必要的喪失”的人生觀。難道遲子建的畸異人物是暗合生

63、活之道的嗎？可以把遲子建的畸異人物與莎士比亞《李爾王》中瘋瘋癲癲的弄人、陀斯妥耶夫斯基《白癡》中梅什金公爵簡單比較一下，各自的精神特點(diǎn)便一目了然。</p><p>　　遲子建把畸異人物的自然人生確立為價(jià)值理想的局限極為鮮明。首先，畸異人物的自然人生是逃避超脫型的。他們對(duì)人生矛盾采取一種逃避超脫態(tài)度，沒有解決人生矛盾的能力與意愿，而是徹底否定矛盾的存在，以精神病、弱智、失憶癥等形式構(gòu)筑著人生逃避的堡壘。像陳生（《青

64、草如歌的正午》）、楊玉翠（《岸上的美奴》）等人不就是在把現(xiàn)實(shí)世界中的矛盾拒之門外才能肆意揮灑嗎？而莎士比亞的弄人等展示的是直面人生矛盾的超越型人生?！独顮柾酢分信藢?duì)現(xiàn)實(shí)世界具有深切洞察力，他帶領(lǐng)李爾王在曠野中承受狂風(fēng)暴雨的打擊，是為了讓李爾王能更清晰認(rèn)識(shí)人性的深層狀況，不要再執(zhí)迷不悟?！栋装V》中的梅什金公爵，更是懷抱著對(duì)苦難世界的深切之愛，深入現(xiàn)實(shí)世界，對(duì)娜斯塔霞等人的靈魂的震撼力大得驚人。其次，畸異人物的人生意義低于功利境界的人生。

65、雖說功利世界會(huì)導(dǎo)致人的欲望無度、人性的畸變，但它也確曾使人的自我意識(shí)開始萌生，能在他人與自然面前慢慢確立起精神獨(dú)立性。但是自然人生使人在沒有經(jīng)歷復(fù)雜性時(shí)就安于簡單，自我意識(shí)無法建立，人生的主體性與精神性無法達(dá)成。遲子建的弱智者沒有明確的自我意識(shí)與主體意識(shí)，是自然賜予的人生，而不是精神創(chuàng)造的人生，沒有實(shí)質(zhì)的意義，</p><p>　　三、回歸自然的限度 </p><p>　　同樣頗有意味的是

66、，遲子建的畸異人物的首要特征就是對(duì)大自然的親近。《青草如歌的正午》中，精神失常者陳生就葆有動(dòng)人的自然情感，他會(huì)揀著柵欄旁陰影走路，生怕把均勻散布在路中央的月光踩出疤痕?；貧w自然的主題同樣表現(xiàn)于遲子建小說的城鄉(xiāng)書寫。在小說《關(guān)于家園發(fā)展歷史的一次浪漫追蹤》中，遲子建曾說：“城市是地球上最大的罪孽”[2]。對(duì)城市的嚴(yán)厲態(tài)度一直沉淀在遲子建心中。與之相對(duì)的是，遲子建對(duì)鄉(xiāng)村有著明顯偏愛。遲子建欣賞的那些人物，如寶墜、天灶、丑妞等，都是鄉(xiāng)村世界的

67、貢獻(xiàn)。說到底，對(duì)城市文明的批判就是對(duì)現(xiàn)代文明的批判。遲子建始終未曾以樂觀的眼光來瞻望現(xiàn)代文明。遲子建回歸自然的價(jià)值理想對(duì)現(xiàn)代文明的自我反思具有一定的警醒作用，但回歸自然的限度卻不得不加以明確反思。</p><p>　　人之為人，本質(zhì)就在于他能不斷地超越既定的現(xiàn)實(shí)世界。大自然對(duì)于植物和動(dòng)物而言，就是全部的生存世界；對(duì)于人而言，卻是必須加以超越的對(duì)象，不可能僅是回歸的對(duì)象。 </p><p>

68、　　首先，人性的基本矛盾無法在回歸自然中被勾銷，因此像遲子建塑造出來的那些理想人物，如《霧月牛欄》中的寶墜等，僅是人性的淪落，而不是人性價(jià)值的生成。所謂回到自然的野性、單純和快樂狀態(tài)，也僅是作者的幻想。吳炫曾說“：人性對(duì)自然、文明對(duì)原始的超越，就既包含著對(duì)野蠻的征服，也包含著對(duì)純樸的遺棄；野性和純樸的審美含義，也只是人類在擺脫了野蠻和無知的桎梏的情況下才有可能。但這種審美，從來不具備獨(dú)立恢復(fù)的功能，充其量只能作為一種價(jià)值的材料，參與新文

69、明結(jié)構(gòu)的建設(shè)?！盵3]遲子建所希望的那種回歸自然狀態(tài)，就像她的畸異人物那樣，同樣不具有賦予這個(gè)世界新意義的功能。</p><p>　　其次，城市和鄉(xiāng)村也僅是人創(chuàng)造出的不同的文明形式，并不會(huì)因?yàn)猷l(xiāng)村與大自然靠得近一點(diǎn)，就具有更高的價(jià)值；如果說城市有多少局限，鄉(xiāng)村必然在另一方面具有相應(yīng)的多少局限。這些局限從根本上說就是人性的基本矛盾的外化。遲子建僅以鄉(xiāng)村大自然為價(jià)值尺度來批判城市，想象城市，就只能看到被大自然尺度扭曲

70、的城市，那同樣是不真實(shí)的城市幻象，也是對(duì)人性的基本矛盾的逃避和抹煞。當(dāng)遲子建有意無意地丑化城市美化鄉(xiāng)村時(shí)，她只不過重復(fù)著沈從文、汪曾祺、賈平凹、張煒、張承志等作家的價(jià)值迷誤而已。</p><p>　　再者，回歸自然的限度也會(huì)被大自然本身的毀滅性因素標(biāo)示出來。大自然對(duì)于生命而言并不是僅具有正面的孕育和撫養(yǎng)的作用，同樣常見的是對(duì)生命的毀滅。像遲子建的《額爾古納河右岸》中，那么多自然災(zāi)難隨時(shí)突至，人常常被嚴(yán)寒凍死，受到

71、自然瘟疫的威脅；當(dāng)大自然展示出遠(yuǎn)非安寧祥和的一面時(shí)，回歸自然的神話也就不攻自破。所謂回歸自然，不是遠(yuǎn)離文化，也不是拋棄文化，而是超越大自然，也超越與大自然格格不入的文化，達(dá)到文化和自然的更高程度上的融合。</p><p>　　從根本上說，人其實(shí)是不可能完全回歸自然世界的，人必須充分地發(fā)展精神世界，這個(gè)精神世界不是依附于自然世界，也不是同化于自然世界，而是與自然世界不同而并立，互相促進(jìn)。人的精神世界必須具有生態(tài)意識(shí)

72、，符合生命之道，但不意味著必須放棄自己的獨(dú)立性和獨(dú)特性。遲子建似乎主張回歸自然就把什么人生問題都解決了，這種明顯的道家思想旨趣是對(duì)人性的深層矛盾的遮蔽。大自然從根本上說無法養(yǎng)育出精神健全的人，“詩意地棲息是精神的產(chǎn)物；它要體現(xiàn)在每一個(gè)具體的環(huán)境中；它將把人類帶向希望之鄉(xiāng)?！盵4]沒有人的精神創(chuàng)造，大自然也無法成為人的詩意棲居之地。</p><p>　　四、尚待確立的超越精神 </p><p&g

73、t;　　無論是對(duì)溫情人生的殷切關(guān)注，還是對(duì)畸異人物的塑造，抑或是回歸自然的渴盼，都表明了遲子建已經(jīng)建立了對(duì)世界與人生較為獨(dú)特的理解；但她若想真正建立對(duì)世界與人生的本真理解，還得努力確立超越精神。真正的超越精神是建立在對(duì)人性的局限性（尤其是兩難性、悖論性和復(fù)雜性）的尖銳體認(rèn)之上的，是以對(duì)神圣價(jià)值根基的尋覓為指向的精神。超越精神使我們看到，文學(xué)必須使人有可能不被現(xiàn)實(shí)完全拘泥住，使人的精神、心魂有可能在想象世界自由翱翔，并獲得一種超越現(xiàn)實(shí)的眼

74、光；也就是既能把現(xiàn)實(shí)中珍貴的價(jià)值從局限性中剝離出來加以呵護(hù)，又能從局限性出發(fā)走向更高的可能。因此，文學(xué)必須要具有一種撬起現(xiàn)實(shí)的力量。</p><p>　　其實(shí)，遲子建對(duì)世界與人生的理解制約著她的小說創(chuàng)作。由于她總是矚目于那些智力水平和精神深度甚至比作家本人還低的庸常人生，所以小說人物和情節(jié)幾乎都在她的情感和理性控制范圍之內(nèi)。由于這些人物缺少對(duì)生活與生命更深的問題探尋的熱情與能力，遲子建小說的內(nèi)在精神就不可能具有足

75、夠的復(fù)雜與深邃，更遑論那種讓人不得不重新看待人生的悖論與神秘！這種創(chuàng)作狀態(tài)不用說與陀斯妥耶夫斯基、卡夫卡、魯迅等大作家相比，即使與蕭紅相比，局限性也顯露無遺。與蕭紅相比，遲子建就明顯缺乏力度和深度，缺乏直面人生嚴(yán)峻處的坦誠和目光犀利的悲憫。《生死場》和《呼蘭河傳》展示的也是東北大地上那些無知無識(shí)的底層民眾的生活，但蕭紅就有勇氣撕開人生粗淺的偽裝，展示生活本來的殘酷，拷問出生活中可能的純潔來。而遲子建對(duì)人生的深度問題缺乏充分的感悟和尖銳的

76、體驗(yàn)，也往往缺乏直面的意愿和勇氣，她喜歡在生活矛盾面前擺弄一些小情調(diào)、小優(yōu)雅，輕飄飄地從生活表層上滑冰般地一溜而過，像個(gè)小女孩似地雙手一揚(yáng)，燦爛一笑，或?yàn)⑾聨椎窝蹨I，獨(dú)自傷懷片刻，就不了了之。</p><p>　　終極價(jià)值解體是現(xiàn)代人的基本處境，現(xiàn)代人生圖景中的模糊、曖昧和冷峻是現(xiàn)代人不得不面對(duì)的基本事實(shí)，至于如何超越它們，再次創(chuàng)造一種人生的澄明、堅(jiān)定和充實(shí)，則是擺在現(xiàn)代人面前的艱巨重任。從陀思妥耶夫斯基、托爾斯

77、泰到魯迅、卡夫卡、?？思{等作家豈不都是行進(jìn)在這條道路上！但遲子建的小說卻對(duì)現(xiàn)代人生圖景頗為隔膜。在遲子建小說中，有外部的對(duì)比，但沒有多少內(nèi)在精神的對(duì)比；有外部的沖突，但沒有多少內(nèi)在精神的沖突；有外部的善惡，卻沒有什么內(nèi)在的善惡互相辯難。遲子建小說人物的定型化傾向和對(duì)人物的內(nèi)在精神發(fā)展變化的忽視恰恰從一個(gè)側(cè)面說明了她對(duì)人生的古典理解和對(duì)現(xiàn)代人生圖景的陌生。從整體上看，她的長篇小說《額爾古納河右岸》在對(duì)世界人生的理解方面幾乎與她長篇處女作《

78、樹下》沒有任何實(shí)質(zhì)性的差別。遲子建后來小說中各種基本因素在《北極村童話》中都已經(jīng)具備。這就是一個(gè)作家的危機(jī)。真正確立了超越精神的作家就不可能在藝術(shù)創(chuàng)造領(lǐng)域不停重復(fù)自己；他會(huì)不斷與生活深層問題相遇，與人性的晦暗和悖論糾纏，探尋著卓然不群的價(jià)值，從而保持著良好的創(chuàng)造狀態(tài)。</p><p>　　從超越精神角度看，像遲子建那樣以古典方式單純展示鄉(xiāng)土溫情歸根到底沒有多大的價(jià)值。最關(guān)鍵的是，要展示溫情是如何克服種種生存困境呈

79、現(xiàn)的，要充分讓人的意志和理性介入到?jīng)]有主體人格的溫情中，使溫情能夠獲得堅(jiān)實(shí)的人性內(nèi)涵。最終，若能使得這種溫情從人性的矛盾和悖論狀態(tài)中綻放出來，并對(duì)既有的道德秩序和價(jià)值秩序構(gòu)成質(zhì)疑和挑戰(zhàn)，從而使人能超越既有的生存眼光，促使世界轉(zhuǎn)向更有活力、更開放的向度，那樣的溫情才是超越意義上的溫情，才是有精神內(nèi)涵的存在性情感，而不是鄉(xiāng)土社會(huì)中重復(fù)、封閉、補(bǔ)償性的生存性情感。這種溫情才不會(huì)使人局限于鄉(xiāng)土社會(huì)，或局限于現(xiàn)代城市文明，而是直面人性的永恒可能性

80、。</p><p>　　References: </p><p>　　[1] [Germany] Hegel. Law Philosophy of [M]. Fan Yang, etc., translated. Beijing: Commercial Press, 1961:291. </p><p>　　[2] Chi Zijian's Collecte

81、d Works: Volume 3 [M]. Nanjing: 江su Arts Press, 1997:173. </p><p>　　[3] Ng. Chinese Contemporary Literary Criticism [M]. Shanghai: Xue Lin Press, 2001:135. </p><p>　　[4] [America] Ralston. Envir

82、onmental Ethics [M]. Yang Tong Jin, translated. Beijing: China Social Sciences Publishing House, 2000:484. </p><p><b>　　參考文獻(xiàn)： </b></p><p>　　[1][德]黑格爾.法哲學(xué)原理[M].范揚(yáng)，等，譯.北京:商務(wù)印書館，1961:29