叶广芩的儿童小说包含两种类型，一是以作家本人的童年经历为原型，书写北京生活的童年回忆小说——“耗子丫丫的故事”；二是以动物为写作对象，描写秦岭生态的动物小说，包括《老虎大福》《熊猫“碎货》《长虫二颤》《黑鱼千岁》《猴子村长》《山鬼木客》等。“耗子丫丫的故事”书写恣肆飞扬的童年生活，见证了丫丫的成长；动物小说书写野气十足的动物生活，探讨人与动物的关系。这些作品以极其鲜明的风格特征，显示了一名成熟作家把握和处理素材的能力，也表现出了叶广芩的人生体悟与责任担当。

本文分为绪论、正文与结语三个部分。绪论部分交代了叶广芩儿童小说的已有研究状况及本文的创新点。正文分三章，第一章从叙述视角、人物形象、叙事结构三个方面入手，探讨叶广芩儿童小说的叙事特征。叶广芩的儿童小说均运用了“内聚焦”的写作方式，作家选取其中一个人物作为叙述者，以此人物的眼睛去观察世界。但二者又因题材的不同在人称上有所变化。“耗子丫丫的故事”是童年回忆之作，第一人称的运用令小说更加真实，让读者更有代入感。而在《老虎大福》等动物小说中，作家运用了第三人称叙事，读者与人物始终保持一定距离，使得我们能够更加理性地去思考人与动物的关系。叶广芩的儿童小说塑造了一批鲜活的人物形象，本文将重点讨论率真、野性十足的丫丫，性格各异的童年伙伴，温暖善良的邻里街坊以及美丽灵动的各种动物。从这些形象中，我们能看出叶广芩高超的人物塑造能力，以及对生活的细致观察。叶广芩的儿童小说常常多个故事平行推进，呈现出“桔瓣式”结构，句子独立成段，行文洋洋洒洒，旁逸斜出。以上这些手法和特征构成了叶广芩儿童小说灵活多变的叙事结构。第二章从幽默色彩、人文底蕴、地域特色等方面入手论证了叶广芩动物小说的美学形态。幽默是与儿童的天性相吻合的，叶广芩将融于血脉的北京方言习惯铺衍、变形，运用于小说创作中，从而产生幽默效应。她的作品充溢着传统文化、历史传说，体现了作家丰厚的内蕴以及传播文化的自觉。叶广芩的作品对人与动物的关系进行理性探讨，体现了“万物有灵”的生态意识。她的儿童小说地域特色鲜明，“耗子丫丫的故事”表现出京都气韵，动物小说则有着陕南风味。她善于运用方言，熟悉当地的风俗习惯，为自己的儿童小说打造出地域标签。第三章探讨了叶广芩儿童小说的生成基础。本文认为，叶广芩的儿童小说受到了北京和陕西的地域文化、作家的品性与经历的影响，并对成人文学进行了延续与变更，最终造就了独特的个人风格。结语部分总结全文，肯定其创作价值与文学意义，同时指出叶广芩创作的不足。

       论文剖析了以“耗子丫丫的故事”、《老虎大福》等动物小说为代表的儿童小说，旨在探究作品的叙事风格、美学形态，挖掘形成“叶氏”风格的深层原因，为成人文学作家跨界创作儿童文学提供参考与借鉴。

There are two types of children's novels written by Ye Guangqin. One is "The Story of Haozi Yaya", a childhood memory novel based on the author's own childhood experience in Beijing. The second is animal novels that describe the ecology of the Qinling Mountains with animals as the writing object, including novellas such as Tiger's Great Fortune, Panda's Broken Cargo, Long Bug's Two Shaking, Black Fish's Thousand Years, Monkey Village Head, Mountain Ghost and Wooker. Childhood memory novel writing wanton flying childhood life, witnessed the growth of Yaya; Animal novels depict wild animal life and explore the relationship between humans and animals. These works show the ability of a mature writer to handle his material and Ye Guangqin's sense of life and responsibility with his unique style.

This paper is divided into three parts: introduction, text and conclusion. The introduction part explains the existing research status of Ye Guangqin's children's novels and the innovation points of this paper. The body is divided into three chapters. The first chapter discusses the narrative characteristics of Ye Guangqin's children's novels from three aspects of narrative perspective, character image and narrative structure. Ye Guangqin's children's novels all use the writing method of "inner focus". The writer chooses one of the characters as the narrator and uses the characters' eyes to observe the world. But there is a difference. "The Story of a Mouse Yaya" is a book of childhood memories. The use of the first person makes the novel more real and makes the readers feel more involved. However, in animal novels such as Tiger Big Scale, the author uses the third person narrative, and the author always keeps a certain distance from the characters, which enables us to think more rationally about the relationship between humans and animals. Ye Guangqin's children's novels have created a number of vivid characters. This article will focus on the frank and wild Yaya, her childhood friends with different personalities, the warm and kind neighbors, and the beautiful and clever animals. From these images, we can see Ye Guangqin's superb characterization ability and meticulous observation of life. Ye Guangqin's children's novels often have multiple stories advancing in parallel, presenting an "orange flap" structure. The sentences are separated into separate paragraphs, and the prose is flowing freely and slanting out. These techniques and features constitute the loose style of Ye Guangqin's children's novels. The second chapter demonstrates the aesthetic form of Ye Guangqin's animal novels from the aspects of humor, cultural implication, ecological implication and regional characteristics. Humor is consistent with the nature of children. Ye Guangqin applied the custom of Beijing dialect, which is in his blood, into his novel creation, thus producing humorous effect. Her works are full of traditional culture, historical legends, reflecting the rich connotation of the writer and the consciousness of spreading culture. Ye Guangqin's works rationally discuss the relationship between human and animals, and embody the ecological consciousness of "animism". Her children's novels have distinct regional characteristics. "The Story of a Mouse Yaya" shows the charm of Kyoto, while her animal novels have the flavor of southern Shaanxi. She is good at using dialects and familiar with local customs, creating a regional label for her children's novels and giving readers a strong sense of substitution. The third chapter discusses the foundation and mechanism of Ye Guangqin's children's novels. This paper holds that Ye Guangqin's children's novels are influenced by the regional culture of Beijing and Shaanxi, the writer's character and experience, and continue and change the adult literature, and finally create a unique personal style. The conclusion part summarizes the whole text, affirms the value and literary significance of Ye Guangqin's creation, and points out the deficiency of Ye Guangqin's creation.

         This paper analyzes the children's novels represented by "The Story of Haozi Yaya", "Tiger's Great Blessings" and so on, aiming to explore the narrative style and aesthetic form of the works, and dig out the deep reasons for the formation of Ye Guangqin's style, so as to provide references for adult literature writers to cross over to create children's literature.