书写“盲”的两种向度——以《推拿》与《流俗地》为例

The Two Dimensions of Depicting “Blindness”—A Case Study of The Massage and Circling Waters

摘要: 该研究以《推拿》与《流俗地》为研究对象，采用文本细读与对比分析方法，探讨健视作家对视障者书写的文学表达差异与不同叙事向度。两部作品均通过盲人视角的去“视觉中心”文学化视障者对世界的感知，形成延宕、多层次的审美效果，但《流俗地》中健视者的思维惯性更为明显。在盲人形象层面，两部小说均超越传统对“盲”的书写模式，聚焦视障者作为“人”的日常生活与生存逻辑：《推拿》侧重展现视障群体的生存状态与社会的外部关联，而《流俗地》更注重向内开掘视障者的生命哲学。在叙事策略与主题表达上，《推拿》通过“门”的区隔强调视障者与健视者的差异，而《流俗地》则以“盲”消解偏见，构建更具包容性的叙事世界。

Abstract: This study examines The Massage and Circling Waters through close textual reading and comparative analysis, exploring the literary differences and narrative dimensions in sighted writers’ depictions of visually impaired individuals. Both works employ a non-visual-centric perspective to portray how blind characters perceive the world, creating a delayed, multi-layered aesthetic effect. However, Circling Waters more prominently reflects the cognitive habits of sighted individuals. In terms of characterization, both novels transcend traditional portrayals of “blindness”, focusing instead on the daily lives and existential logic of visually impaired individuals as people: The Massage emphasizes the social conditions and external relationships of the blind community, while Circling Waters delves deeper into the inner philosophical reflections of blind characters. Narratively, The Massage uses the motif of “doors” to highlight the divide between the sighted and the blind, whereas Circling Waters employs “blindness” to dismantle prejudices, constructing a more inclusive narrative world.