长期以来，老舍小说中的对话备受读者青睐，但在创作诗学层面，该艺术形式的研究成果并不多。本文拟在小说这一文类范畴中，运用陌生化视角，通过系统梳理对话这一艺术形式中所展现出的冲突设计、文本表征及节奏韵律等，深入剖析老舍小说中的对话艺术。

论文分为四个部分：绪论部分梳理了对话在老舍小说创作中的独特地位，论述了作为审美策略的陌生化手法在小说创作中的表现，并明确了将老舍创作成熟期代表作与晚年的自传体小说《正红旗下》作为主要的研究对象。第一章从创作的实际问题入手，在对话的内在冲突、外在冲突、复合冲突三种冲突类型中归纳对话的冲突模式与生成机制。此外对艺术效果上存在争议的《四世同堂》进行探究，并对扁平人物简单夸张的对话冲突表征进行反思。第二章对小说对话中的创作手法及叙述策略进行梳理。在分析笔墨聚焦、话题转换策略和重复等技巧的基础上，就对话背后的作者意图与人物自主性之间的博弈进行深入探讨。第三章重点关注对话中所呈现的音乐美特质。除却技术层面上对平仄押韵与语音效果进行分析之外，还对比了抒情与叙事在情节推进上的差异，并就抒与叙的艺术表达效果问题进行了审美探讨。

通过研究发现，在老舍创作的不同时期，小说的对话书写呈现出了不同的陌生化特质，反映了老舍复杂多变的文学风貌。在初创期，老舍过分依赖对话这一叙事手法，导致其他元素被冲淡或抑制；到了成熟期，老舍逐渐掌握对话的创作技巧，有节制地安排对话，使其更多承载行动与冲突，并对创作方法进行多重探索；而在晚年时，因情节不能自由书写，他转而寄情于精炼音声，并将之巧妙调配于小说语言中，使对话更多呈现抒情性，而非简单的情节推进。总体而言，陌生化的对话书写在老舍的小说创作中有着独特的艺术地位，是其情节演进和艺术趣味的重要组成部分。

For a long time, the dialogue in Lau Shaw's novels has been favored by readers, but from the level of poetic creation, there are not many research results on this art form. In the category of fiction, this paper intends to make an in-depth analysis of the art of dialogue in Lau Shaw's novels from the perspective of defamiliarization by systematically sorting out the conflict design, text representation and rhythm displayed in the art form of dialogue.

The thesis is divided into four parts: the introduction part combs the unique position of dialogue in Lau Shaw's novel creation, discusses the performance of dearization technique as an aesthetic strategy in the novel creation, and makes clear that Lau Shaw's representative work in the mature stage of creation and the autobiographical novel Beneath the Red Banner in his later years as the main research object. The first chapter, starting with the practical problems of creation, sums up the conflict mode and generation mechanism of dialogue in three types of conflict: internal conflict, external conflict and compound conflict. In addition, it probes into the The Yellow Storm, which is controversial in its artistic effect, and reflects on the simple and exaggerated representation of dialogue conflict of flat characters. The second chapter combs the creative techniques and narrative strategies in the dialogue of many people. In the techniques of pen and ink focus, topic change strategy and repetition, the author's intention behind the dialogue and the game between character autonomy are deeply discussed. The third chapter focuses on the beauty of music in the dialogue. In addition to the technical analysis of tonal rhymes and phonetic effects, this paper also compares the differences between lyricism and narrative in plot progression, and makes an aesthetic discussion on the artistic expression effects of lyric and narrative.

Through the research, it is found that in different periods of Lau Shaw's creation, the dialogue writing of the novel presents different defamiliarization characteristics, reflecting Lau Shaw's complex and changeable literary style. In the initial stage, Lau Shaw relied too much on the narrative technique of dialogue, which resulted in other elements being diluted or suppressed. In the mature stage, Lau Shaw gradually mastered the creative skills of dialogue, arranged dialogues sparingly, made them carry more action and conflict, and made multiple exploration of creative methods. In his later years, unable to freely craft plots, he turned his focus to refining dialogue, skillfully integrating it into the language of his novels to imbue them with a more lyrical quality, rather than mere plot advancement. Overall, the defamiliarized dialogue in Lau Shaw's novel writing holds a unique artistic position, serving as an integral part of the plot development and artistic interest.