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双语推荐:散文化小说

徐訏详尽解读了林语堂的矛盾个性,剖析林矛盾的文化内涵,并以个性上的矛盾为视角看林语堂的为人处世。徐訏认为林语堂是一个主观的人,并以此为切入点分析林的文学创作偏重于表现主观:他看好林的文不欣赏林的小说,并对此做了深入的探讨。徐訏对林语堂在中国现代文学史与中外文化交流上的作用有着独到认识与极高评价。徐评在林语堂研究方面有独特价值。
Xu Xu has a profound analysis of Lin Yutang’s character, his contradictory cultural views and his perspective of life. Xu Xu considered Lin Yutang as a subjective person, and on this ground he thought Lin’s literary writings are subjective. He appreciated Lin’s prose more than his novels and made a penetrating study of the former. Xu Xu had a unique opinion of Lin Yutang’s impact on the cultural communication and the history of contemporary literature in China. Xu Xu’s remarks of Lin Yutang is of unique significance in the study of Lin Yutang.

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1943年国统区的诗歌、小说和戏剧三类文体呈现出新的创作风格与倾向:诗歌方面新诗从纯诗化开始向散文化发展;小说方面出现了新作家新倾向;戏剧方面,“剧场戏剧”再次回归主流。
Abtract:In this paper , we firstly select three type literary forms like portry ,novel and drama and make corresponding summary analy-sis, and then we investigate typical literary output in three culture central cities as Chongqing ,Kunming and Guilin .Through all these work the creative style and tendency of literature write in nation -govening areas in 1943 is presented completely .

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汪曾祺新时期的小说以其背离主流政治的主题和题材在新时期文学中占据特殊的位置,并使其与其他的新时期小说家们异趣。作为"散文化小说"叙述的个案,他重接现代抒情小说传统,同时保持他的小说中对风俗画描写的独立意义。以其独特的叙述视角、结构方式、语言表达、短篇行文为他在新时期文坛上寻觅到了独特的位置。
Wang zeng-qi''s novels with the characteristic of deviating from mainstream politics , occupied a special position in the litera-ture in new period . As a special kind of prosaic novels , his works pay attention to the tradition of modern lyric novel , and take the ad-vantage of landscape description . His unique views , narrative way , expression and short story contribute to his special place in the liter-ature of the new era.

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内容院20世纪30年代,中国电影工业正处在一个经历初期发展后的繁荣阶段,野明星冶成为野一种广泛流行、初具规模的社会现象和工业制度冶遥这一时期的报刊上刊发了大量的电影女星的文、诗作和随笔,有的女星甚至撰写剧本、小说,以野作家明星冶的美誉而闻名遥本文侧重将这一现象放在当时的城市消费语境之下进行考察遥一方面,围绕电影女星的公共话语呈现出一种对女星的正面评价,在这种价值建构中起了很大作用的流行报刊,为女明星提供了银幕外一种重要的表演场所曰另一方面,在当时被创作者、评论者、演员和观众认可的野本色派表演冶准则下,女明星的文学写作成为体现她们野本色冶的一种工具,对早期电影工业的明星类型化起到一定作用遥因此,这股电影女明星文学创作热潮是电影宣传话语对女明星进行的一种野文学包装冶或野文化包装冶.
@@@@After a decade’s development, Chinese film industry experienced its first boom in the 1930s. The star system had been established and the early Chinese film stars had got their stardom at that time. In the 1930s, many female film stars had literary works including essays, poems, screenplays and novels published in newspapers and magazines. This article examines this phenomenon in the context of urban consumerism. On one hand, the mass publications offered the female film stars another stage on which they acted and gained fame. On the other hand, their literary works displayed their distinctive“natural character,”which thereby facilitated the stereotype development of films. This article argues that the literary publications of the female film stars could be identified as the literary packaging of them.

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李中峰先生是当代西部一位杰出诗人。他热爱传统文化文化功底深厚,具有浓郁诗人气质,几十年来创作的诗赋近3000首(篇),其特点一是众体皆备,诗词曲赋文兼写,诗歌以格律诗为主,格律诗以七绝见长。二是题材广泛,咏怀诗情真意切,感人至深;新田园诗既描写原生态的山水田园自然风光,又体现了当代农村的新风尚;讽喻诗继承了中国诗歌的“美刺”传统。三是风格多样,其中有一些七绝佳作令人拍案叫绝。中峰先生的诗赋创作继承了中华古典诗赋的优秀传统,又能在此基础上推陈出新。中峰先生以及当代许多传统诗歌创作实践是对后现代非诗化诗风的矫正。将当代众多的创作古体诗赋的作家屏之于当代文坛之外是一个很大的缺憾。研究当代文学的学者不能只把眼光关注到小说文及现代诗上面,应该放开眼光,抛弃陈见,关注那一大群以古体格律诗为载体来反映当代现实生活的诗人及其他们的创作。
Li Zhongfeng is a distinguished contemporary poet in the west.He loves traditional culture and has strong poetic tem-perament with profound culture foundation.For decades he has been finished writing about 3,000poems .There are three features in his poetry writing .First is his various literary forms, he writes on poetry, opera, prose etc.poetry writing focuses on metrical ones, especial the four-line poems with seven characters.Second, his poems are precisely sincere and touching;His new pastoral poetry describes both the original ecological scenery and natural landscape and reflect the new social trends of the rural area;His allegorical poems inherited“beautiful thorn” of Chinese classical poetry .Third one is the variety of styles.Some of the four-line poems with seven characters are amazing.He inherited and developed on the basis of the fine traditions of Chinese classical poetry, He and his contemporary writing practice of Chinese classical poetry is the correctness of

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张恨水小说的成功源于其文化策略的成功。文化“配方”策略决定了张恨水小说的叙事模式和故事架构,并从根本上决定了张恨水小说的文本形态,特别是其小说的“双极结构”,更是其文化“配方”策略的外部表现形式,本质上是一种文本的分裂。
The success of Zhang Henshui''s novels lie in his cultural strategies, which determine his narrative modes and story structures and decide his textual forms in a fundamental manner. Particularly, the "double polar structure" of his novels is the outside representation of his cultural formula, and intrinsically is a kind of disintegration of his novels.

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纵观中国小说史,以"红"命名的小说不计其数,形成了一种非常独特的文化现象。为何小说家喜欢以带有"红"字的名称来命名小说?作家为何喜欢写作以"红"命名、与"红"相关的小说?本文通过对中国各类带有"红"字标题的小说的解读,来揭示这一文化现象,透视其中的文化心理,以便读者能更加全面地理解中国小说,也希望能为中国作家以后的命名和创作提供一些参考。
Throughout the history of Chinese fiction ,countless novels were named with "red".Appar-ently these formed a special cultural phenomenon .So ,why novelists like to name the novel with the“Red”?Why do writers like writing“red”name .And what does “red” related to the novel?Based on the different Chinese interpretations towards "the red",this article explains this cultural phenomenon and psy-chology ,which would not only help readers to understand the Chinese novel well ,but also provide some reference about the novel''s naming and help the novel creation of the later Chinese w riters .

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徐志摩熟悉江南小城镇,其诗歌《盖上几张油纸》《一条金色的光痕》《太平景象》、文《我的祖母之死》、小说《家德》《老李》《船上》均为江南小城镇文学。徐志摩的江南小镇城文学展现了江南的诗情画意,抒写了对于亲人、同学和家仆"浓得化不开"的情感以及对于穷苦人的同情。徐志摩热爱江南小城镇,但作为沐浴过欧风美雨的"海归",其江南小城镇叙事常常以"他者"为视角。
Xu Zhimo is quite familiar with the small towns in Jiangnan,and his poems “Cover with Several Sheets of Oil Paper”,“A Golden Light”,“A Peaceful Scene”,his prose work The Death of My Grandmother, his novels Jiade,Laoli,and On the Boat are all good examples of Jiangnan small-town literature.The Jiangnan small-town literature of Xu Zhimo shows the poetic beauty of Jiangnan and expresses his great affection for his close relatives,classmates and household servants as well as his sympathy for the poor.Xu Zhimo loves the small towns in Jiangnan,but as an overseas returnee who has been bathed in western culture, he tends to depict the Jiangnan small towns from the perspective of “the Other”.

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张爱玲是一个传奇式的人物,她的作品深受广大读者的喜爱,从小说文,都具有极高的研究价值,尤其是其小说更有一种超乎寻常的魅力。这种魅力首先表现在其最表层的语言风格上的简练、精准、伶俐、绝妙;其次则表现在其细腻妥帖的白描手法和心理分析上;再次,还表现在其注重日常世俗生活的平凡选材上。选材虽只是世俗生活,但表达的却是对社会的反思,人性的探索。张爱玲小说的魅力还表现在其人物的真实性、非英雄化,以及她的作品的超时代性:超越政治、超越国民、超越历史。张爱玲小说风格的形成与其所处的时代环境、家庭、经历密切相关。我们应重视这些事实经历对作家的影响。
Eileen Zhang is a legendary person whose works are popular with readers .From the novels to prose ,her works have high research value .Her novels have an extraordinary charm .First ,this charm performs in the most surface layer on the language style of concise ,precise ,intelligent ,brilliantly .Sec-ondly is the simple description and psychological analysis which is exquisite and appropriate .Thirdly is the ordinary material selection .Though the material is daily secular life ,the expression is the reflection of the society and the exploration of human nature .The charm of Zhang’s novel has also been seen in the real , nonheroic characters and her works’ transcendentalism :beyond politics ,countrymen and history .Eileen Zhang’s novel style is related closely to the age ,environment ,family and experience .We should pay at-tention to the influence of these facts on the writer .

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快感是大众流行文化的核心内容,也是大众流行文化发展的内驱力。而王朔小说作为中国大众文化的代表作品,具有非常丰富的快感内容及表征。基于此,文章从大众文化角度来探讨王朔小说的快感编制策略,具体来说,王朔在小说中采用了狂欢化的语言风格、悬疑化的叙事策略以及双向化的人物与符号设置等手段以增加读者阅读小说的快感。
Pleasure sensation is the internal driving force and the core content of popular culture. As the Chinese popular culture representative work, Wang Shuo’s novel is rich in pleasure sensation. Thus this paper discusses the strategy of pleasure sensation arousing in the novel of Wang Shuo from the perspective of popular culture. Specifically, in order to increase the pleasure sensation in the novel, Wang Shuo uses various ways such as language explosion, suspense of the narrative and two-way of the fictional characters and symbols set.

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