第二部分论述萧红小说的悲剧审美风格。
The second part discusses the style of tragedy aesthetics of Xiao Hong's fictions.
中和之美标志着萧红小说悲剧审美风格的最高成就。
The aesthetics of neutral and harmonious indicates the highest achievement of tragedy aesthetics of Xiao Hong's fictions.
在第三章中，就萧红小说中经常出现的核心情节偏离现象进行了叙事学的分析。
In the third chapter, by narrative theory I analyse the phenomenon that the core scenario being deviated often appeared in Xiao Hong's novels.
萧红小说充满了文化批判意识，她关注辛苦麻木的、觉悟的民众的悲惨生活与生存状态。
Xiao Hong's novels are filled with cultural criticism; she is concerned for the miserable living situation of those who were laborious but numb.
本文以叙事学理论作为研究的工具，紧密结合文本，探究萧红小说在叙事上的演变历程。
This thesis is based on the theory of narration, and integrate the text closely to research into the evolvement of narration of Xiao Hong's novels.
萧红小说浓郁的故乡情结、生命意识，反映了其小说世界丰富的思想内容和悲剧美的艺术特色。
The content and tragedy character of Xiao Hong's novels are embodied in her hometown idea and consciousness of life which delineated in her novel.
萧红小说所呈示出的一幕幕带有悲剧意味的人类荒诞性的生存景象，却是掩盖于生命表象背后的那种生存之痛。
The tragic absurdity of human being's existence in her novel cannot cover the wretchedness under the superficial life.
萧红的小说向我们指出：是贫困文化导致了广大农村一幕幕的人间悲剧。
Her novels tell the audience that it was the impoverished culture that directed human tragedies one after another.
论文分为三个部分，第一部分是探讨东北地域文化对萧红及其小说创作的影响。
In the first part, the author discusses the northeast regional culture how to influence Xiao Hong and her novel creation.
第二章：论述萧红在小说创作主题实践中的女性意识。
Chapter two: it discusses the female consciousness Xiao Hong possessed in her novel creativity.
萧红虽以小说知名文坛，但其本质上更属于具有诗人气质的散文型作家。
Although Xiaohong is famous for her novels, she in nature belongs to essayists who has temperament of poets.
萧红的小说，作品中的主角大多是生活在社会最底层的不幸女性。
Most of the leading characters in Xiao Hong's works are unfortunate women living at the bottom of society.
《呼兰河传》的儿童视角是理解萧红这部颇多争议的诗化小说的关键。
The child's perspective is the key to understand Xiao Hong's the Biography of Hulan River, which is a poetic novel.
同时，作为一位风格独特的天才女作家，萧红通过对语言的超常规运用使小说语言个人化，从而小说得以以萧红个人色彩的文本显现。
At the same time, as a special and gifted authoress, with language used in an irregular way, her novels were much personalized.
萧红丰富的情感世界以及作为女性的自我意识在小说《生死场》中，通过不同的女性人物形象的塑造，被呈现得极为鲜明。
In her novel Shengsichang, Xiao Hong's complex emotion and her female consciousness are represented by the shape of different female images.
而且，萧红涉足文学的最初创作是诗歌，最早发表的文学作品也是新诗，而不是小说或散文。
Moreover, Xiao Hong's first involvement in literary creation is poetry; her literary work published earliest is also poetry, not novels or prose.
而萧红的乡土写实抒情，因其强烈的现实使命感和文化自省性，成为三十年代抒情小说的正宗和主流。
The local and lyric novel of Xiaohong became the mainstream of lyric novel in the 1930's with its strong sense of realistic mission and cultural introspection.
而萧红的乡土写实抒情，因其强烈的现实使命感和文化自省性，成为三十年代抒情小说的正宗和主流。
The local and lyric novel of Xiaohong became the mainstream of lyric novel in the 1930's with its strong sense of realistic mission and cultural introspection.
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