南洋欲望、夢(mèng)魘氛圍與陰郁美學(xué)的生成

王軍

摘??要：長(zhǎng)篇小說《大河盡頭》是李永平返回婆羅洲、書寫熟悉的故土經(jīng)驗(yàn)，以及展開對(duì)生命本源思索的集大成之作。李永平在作品中描繪出一幅斑斕駁雜的南洋欲望圖景，這包括男女兩性的情愛、動(dòng)物的野性交歡或殖民暴力的性侵。在殖民戰(zhàn)爭(zhēng)的歷史陰影下，少年永和克絲婷備受心靈創(chuàng)傷。這種對(duì)極端現(xiàn)實(shí)的不滿與反抗情緒，在整部作品中表征為一種壓抑的、夢(mèng)幻式的情景再現(xiàn)，而人物則以幽靈附體的方式到處游蕩，籠罩在一片夢(mèng)魘氛圍中，帶有濃厚的神秘主義氣息。《大河盡頭》是一部歷史之書、欲望之書與生命之書，有著絢爛而明麗的一面，但總體上是灰暗而感傷的，生成了一種獨(dú)特的陰郁美學(xué)。

關(guān)鍵詞：李永平；《大河盡頭》；欲望書寫；夢(mèng)魘氛圍；陰郁美學(xué)

中圖分類號(hào)：I207.4????文獻(xiàn)標(biāo)識(shí)碼：A????文章編號(hào)：1006-0677（2024）1-0076-06

Desire?of?South?Seas，?Nightmarish?Atmosphere?and?the

Genesis?of?Gloomy?Aesthetics：?With?Li?Yongpings

The?End?of?the?River?as?the?Centre

Wang?Jun

Abstract：?The?End?of?the?River，?a?novel?that?Li?Yongping?wrote?on?his?return?to?Borneo?about?the?homeland?experience?that?he?is?familiar?with，?and?that?expands?his?thought?on?the?source?of?life.?In?this?work，?Li?Yongping?describes?a?colourful?and?varied?picture?of?desire?in?the?South?Seas?that?includes?sexual?love?between?men?and?women，?wild?intercourse?amidst?the?animals?or?the?sexual?violence?of?the?colonizers.?In?the?historical?shadow?of?colonial?wars，?teenager?Yong?and?Christine?suffered?heartfelt?trauma.?The?extreme?discontent?with?the?reality?and?the?sentiment?of?rebellion?are?represented?in?the?book?as?the?reappearance?of?a?repressive?and?dreamy?scene?while?the?characters?are?roaming?about?as?if?possessed?with?ghosts，?shrouded?in?an?atmosphere?of?nightmare，?and?carrying?with?it?a?strong?sense?of?mysticism.?The?End?of?the?River?is?a?book?of?history，?desire?and?living.?Despite?its?brilliant?and?bright?side，?it?is，?in?general，?dark?and?sentimental，?generating?a?unique?gloomy?aesthetics.

Keywords：?Li?Yongping，?The?End?of?the?River，?desire?writing，?nightmarish?atmosphere，?gloomy?aesthetics