《孽子》的悲剧性研究

该论文是与另两位同学一起参加学校的科研立项活动合作完成的，尽管没有取得优秀奖项，但代表着我们一个时段的独特思考，笔者自认为本文还是有一定的创见的，可惜《孽子》独特的艺术魅力本文并未阐述出百分之一...
希望在最深最深的夜里独自彷徨街头的孩子们能够有所依归。
（注释改为尾注附在文章最后）
摘要：《孽子》作为白先勇唯一一部男同性恋题材的长篇小说，在其创作中具有重要意义。小说中父亲/权的阴影始终笼罩在同志人群的身上，致使他们离开以父亲为中心的家之后，又不自觉陷入父权的掌控，最终与同性伴侣走向悲剧；而年轻一辈的代表阿青试图排除父亲/权的影响与弟弟们建立“另类家庭”却也在主流社会的压抑下被作者宣判破碎。这些激烈的悲剧冲突，在白先勇中国化的艺术手法——如化用诗歌中的比兴手法、传统小说的缀段结构——的表现下，使小说在情景交融中被稀释的悲剧体验化为更难以名状的凄凉与悲哀，《孽子》的悲剧性得以表现得淋漓尽致。
关键词：《孽子》同性恋 悲剧性 父权 艺术表现
Abstract: As the only gay-themed novel Bai Xianyong has ever written, Crystal Boys is of great significance in its literary creation. In this novel, the shadow of patriarchy hangs over the gay people from the beginning to end. Although having escaped from their father-centered family, gay people again unconsciously fall into the control of patriarchy, resulting in a tragic ending of them and their lovers. In addition, an attempt by A Qing, a representative of the younger generation, to build a “alternative family” is also declared impossible by author because of the oppression of mainstream society. Represented by Bai Xianyong's Chinese artistic literary techniques——such as poetic comparison and the segment structure of traditional novels——these sharp and tragic conflicts turn the tragic experience diluted by integration of emotion and scene into a more indescribable desolation and sorrow, and therefore the tragedy of Crystal Boys is on full display.