成长小说中的流浪母题书写

The Writing of the Vagrancy Motif in Bildungsromans: A Comparative Analysis of Kim Joo-young’s Stingray and Cao Wenxuan’s The Bird

流浪作为人类生存的常态表现, 与人类文明的历史进程相生相伴, 自然地成为文学中最具普遍性的母题之一｡ 在金周荣的『洪鱼』和曹文轩的『根鸟』两部成长小说中,主动离家的少年主人公均在对于流浪的直接与间接体验中实现了个体成长, 呈现出对于流浪母题的共性书写｡ 然而, 两部小说中的流浪母题书写也存在一定差异, 分别表现为“危机-逃离-自由”的现实性流浪与“梦想-追寻-回归”的浪漫性流浪｡ 两者的共性可以归因于流浪母题与成长小说体裁的契合性, 而差异则主要源于金周荣和曹文轩对于流浪母题的不同理解, 金周荣将流浪视为人固有的生命形态, 曹文轩则赋予流浪以梦为马的浪漫特性｡

Vagrancy, a common form of human existence, has been closely linked to the historical process of human civilization and, as a result, has become one of the most frequently employed motifs in literature. In Kim Joo-young’s Stingray and Cao Wenxuan’s The Bird, both the young protagonists departed from home and embarked on a journey of self-growth through their direct and indirect experience of vagrancy, thereby reflecting the similarities in the portrayal of the vagrancy motif. Nonetheless, the writing of the vagrancy motif in the two novels also presents differences, characterized by the contrasting depictions of realistic vagrancy featuring “crisis-escapefreedom” and romantic vagrancy featuring “dream-pursuit-return”. The similarities between the two novels are attributed to the correspondences between the vagrancy motif and the Bildungsroman genre, while the differences stem primarily from Kim and Cao's divergent interpretations of the vagrancy motif, with Kim regarding vagrancy as an essential form of human existence, whereas Cao romanticizes vagrancy as the pursuit of one's dream.