20世纪80年代来，河南作家频频引起文坛的关注，在90年代，河南作家群因集中丰富的创作被称为“文学豫军”，他们的富有独特地域气质的创作成就被称作“中原突破”。对河南作家来说，乡村与权力是两个不可回避的主题，其对乡村权力关系集中式的书写已然成为一种文学现象。在不同作家笔下，乡村权力关系展现出相似而又各异的形态，并在此基础上生成具有不同特征的权力结构，塑造同在权力场中却形态各异的人物形象。在不同的书写方式背后，存在着作家对乡村和权力的理解以及创作姿态与审美特征的差异。

本论文以20世纪80年代以来河南作家乡村权力叙事为研究主题，主要以阎连科、刘震云、李佩甫三位作家为研究对象。绪论部分主要分析本选题的立论依据与研究意义，对国内外研究现状进行综述，分别梳理乡村权力叙事总体研究现状以及对具体作家作品的研究现状。

第一章对乡村权力叙事的文化背景进行综述分析。首先，对中原历史进行溯源综述，从历史角度解析官本位文化与权力崇拜心理的形成。中国长久以来的官僚政治制度是官本位思想的体制基础，而中国传统儒家精神则为其提供思想文化基础。河南地处中原的地理位置、发展较早的农业文明与长期以来政治文化中心的定位则进一步推动着权力崇拜心理的固化。其次，河南乡村的宗族制度与宗法思想催生了长老统治模式，导致权力的发生与执行具有血缘意义上的正当性，使权力结构具有文化特征，更加难以被打破。血缘宗族与长老统治模式且至今未被完全替代，仍存留于人们的思想和行为习惯中，作为河南乡村权力结构的文化背景，它们是河南作家在书写权力时不可忽视的对象，是其“乡村情结”与“权力情结”的来源之一。

第二章对文本中权力结构的形成过程和逻辑进行剖析。首先是权力场域的闭合性，中国自古以来就有“王权不下县”的传统，且乡村具有人和空间意义上的不流动性，不以个人而是以集团为单位。《受活》《日光流年》《羊的门》《故乡天下黄花》等作品中的村庄均有封闭特征，并且被进一步放大，呈现为与外界严重脱节、高度封闭的独立空间。除了地理环境方面，封闭性也体现在精神和伦理层面。在此基础上，权力的流动多发生于内部，内部权威的产生和建立变得更加容易。其次是权力的具体表现形式，在现实的权力运行过程中，权力多表现为暴力与舆论的形式。前者表现为对身体的直接控制，并与革命、苦难等元素相结合，成为掌权者维护统治地位、威吓民众的武器；后者则以摧毁血缘亲情的方式使民众陷入无助的心理状态，进而被迫跟随掌权者的脚步，为缺失理性的权力氛围左右。最后对权力结构中的其他元素进行分析，如生存需求、经济利益等。这些因素或参与权力结构的形成，或被权力关系所影响，呈现出与以往不同的形态。在多种直接影响人们的生活的元素的介入下，权力关系变得更加丰富复杂，也更具有现实意义。

第三章主要分析权力场中不同身份的人物类型。首先是作家笔下具有神性与父性的角色，如《羊的门》中的呼天成、《日光流年》中的司马蓝与《受活》中的茅枝婆等。这类人物脱胎于中国乡土文化，位于权力结构与人物结构的双重中心，是封闭性、宗族性等多种乡村气质交织的产物。在现代文明的冲击下，这类人物的命运往往与乡村文明同构，具有浓烈的神圣和悲剧意味，他们身上体现着作家对权力崇拜与恐惧并存的复杂心理，以及对乡村命运的悲观想象。其次是被权力异化的逐权者形象，如《炸裂志》中的孔明亮、《坚硬如水》中的高爱军、《受活》中的柳鹰雀、《头人》中的几代头人等，这类人物多为权力和欲望的化身，具有一定的荒诞性。他们可以牺牲权力地位之外的一切，对权力与阶级地位表现出极端的疯狂与沉迷。他们往往与癫狂的叙事气氛融为一体，体现着权力原始和危险的一面。最后是小说中最为庞大的被统治者群体，即处于权力结构底层的农民群体。这类人物有自己的局限性，如易于接受暗示、缺乏精神创造力和自主人格等，单个个体力量的弱小使得他们产生寻求庇护的渴望，进而被掌权者控制欲压迫，故在《羊的门》中被以绵羊指代。在已经形成并固化的权力结构中，他们的话语权力往往被剥夺，失去反抗的权利甚至勇气，表现出失语的症状。

第四章对不同作家权力叙事背后的伦理姿态与审美特征进行分析。在相同的创作题材面前，阎连科、刘震云与李佩甫书写权力的姿态与在文本中重建权力场域的方式均存在差异。其中，阎连科的书写方式较为极端，具有强烈的“神实主义”风格，且对乡村文明多持悲观态度。刘震云则善于对历史进行剖析与批判，多以讽刺口吻进行叙述，其笔下的人物也多有性格缺陷，批评与反讽意味较浓。李佩甫则对权力关系表现出一定程度的沉迷，在作品中对权力的运作过程和细节极端细化书写，甚至透露出权力崇拜的倾向。通过梳理不同作家的权力书写方式，剖析其背后不同的创作立场与文化心理，进一步探究权力叙事背后的伦理性。

In the 1980s, Henan writers frequently attracted the attention of the literary world, and in the 1990s, Henan writers were called the "Yu Army of Literature" because of their concentrated and rich creations, and their creative achievements rich in unique regional temperament were called the "Breakthrough of the Central Plains". For Henan writers, the countryside and power are two unavoidable themes, and their centralized writing on rural power relations has become a literary phenomenon. In different writers' writings, the power relationship in the countryside shows similar but different forms, and on the basis of this, they generate power structures with different characteristics, and shape characters who are in the same power field but in different forms. Behind the different ways of writing, there are differences in writers' understanding of the countryside and power, as well as in their creative gestures and aesthetic characteristics.

This thesis takes the rural power narratives of Henan writers since the 1980s as the theme of the study, and takes Yan Lianke, Liu Zhenyun, and Li Peifu as the main subjects of the study. The introductory part mainly analyzes the thesis basis and research significance of this topic, and reviews the current status of research at home and abroad, respectively sorting out the current status of research on rural power narratives in general and the current status of research on specific writers' works.

The first chapter mainly summarizes the cultural background of rural power narratives. First of all, it summarizes the history of the Central Plains, and analyzes the formation of the official-oriented culture and the psychology of power worship from a historical perspective. China's long-standing bureaucratic and political system is the institutional foundation of the official-oriented ideology, while the spirit of traditional Chinese Confucianism provides the ideological and cultural foundation for it. Henan's geographical location in the Central Plains, its early agricultural civilization, and its longstanding position as a political and cultural center further contributed to the solidification of the power-worshiping mentality. Second, the clan system and patriarchal ideology in Henan's countryside gave birth to the rule of elders, which led to the legitimacy of the occurrence and execution of power in the sense of bloodline, making the power structure culturally distinctive and more difficult to break. The bloodline clan and the rule of the elders have not been completely replaced so far, and they still exist in people's thoughts and behavioral habits. As the cultural background of Henan's rural power structure, they are the objects that Henan writers cannot ignore when writing about power, and they are one of the sources of the "rural complex" and the "power complex". They are one of the sources of their "rural complex" and "power complex".

Chapter 2 analyzes the formation process and logic of the power structure in the text. First of all, it is the closure of the power field. Since ancient times, there has been a tradition in China that "the king's power does not go down to the county", and the countryside is immobile in the sense of people and space, and is not based on individuals, but rather on the unit of a group. The villages in works such as "The Living", "Daylight", "The Sheep's Door", and "Yellow Flowers Under the Sky in the Hometown" are all characterized by closure, which is further amplified, presenting them as an independent space that is seriously disconnected from the outside world and highly closed. In addition to the geographical aspect, the closedness is also reflected in the spiritual and ethical level. On this basis, the flow of power mostly occurs internally, and the creation and establishment of internal authority becomes easier. The second is the concrete manifestation of power. In the real process of power operation, power is mostly manifested in the form of violence and public opinion. The former manifests itself in the form of direct control over the body and, combined with elements such as revolution and suffering, becomes a weapon for those in power to maintain their dominant position and intimidate the people; the latter destroys blood kinship in such a way as to plunge the people into a helpless state of mind, and then they are forced to follow in the footsteps of those in power, and are swayed by the power atmosphere that is devoid of rationality. Finally, other elements in the power structure are analyzed, such as survival needs and economic interests. These elements either participate in the formation of the power structure or are influenced by the power relationship, taking on a different shape than before. With the intervention of a variety of elements that directly affect people's lives, power relations become richer and more complex, as well as more realistic.

Chapter 3 focuses on analyzing the types of characters with different identities in the power field. First of all, there are the characters with divinity and fatherhood, such as Hu Tiancheng in The Sheep's Door, Sima Lan in Daylight in the Years, and Mao Zhibao in Live and Let Live. These characters are born out of Chinese vernacular culture, located in the dual center of power structure and character structure, and are the products of the intertwining of various rural temperaments, such as closedness and clannishness. Under the impact of modern civilization, the destiny of these characters is often isomorphic with the rural civilization, with strong sacred and tragic meanings, and they embody the writer's complex psychology of the co-existence of power worship and fear, as well as the pessimistic imagination of the fate of the countryside. Secondly, it is the image of the power-seeker who is alienated by power, such as Kong Mingliang in "Blow-up Zhi", Gao Aijun in "Hard as Water", Liu Yingquan in "Suffer to Live", and several generations of headmen in "Headman", etc. These characters are mostly the embodiment of power and desire, and they have a certain degree of absurdity. They can sacrifice everything other than their position of power and show extreme madness and addiction to power and class position. They tend to merge with the epileptic narrative atmosphere, embodying the primitive and dangerous side of power. Finally, there is the largest group of the governed in the novel, the peasants at the bottom of the power structure. These characters have their own limitations, such as easy acceptance of hints, lack of spiritual creativity and autonomous personality, etc. The weakness of individual power makes them desire to seek refuge, and then they are oppressed by the desire to be controlled by those in power, so they are referred to as sheep in The Sheep's Gate. In the formed and solidified power structure, they are often deprived of their power of discourse, lose the right and even the courage to resist, and show the symptom of aphasia.

Chapter 4 analyzes the ethical gestures and aesthetic features behind the power narratives of different writers. In front of the same subject matter, Yan Lianke, Liu Zhenyun and Li Peifu differ in their gestures of writing about power and in the way they reconstruct the field of power in their texts. Among them, Yan Lianke's writing style is more extreme, with a strong style of "divine realism" and a pessimistic attitude towards rural civilization. Liu Zhenyun, on the other hand, is good at analyzing and criticizing history, mostly in a sarcastic tone, and his characters have character flaws, with a strong sense of criticism and irony. Li Peifu, on the other hand, shows a certain degree of obsession with power relations, and writes about the process and details of the operation of power in his works in extreme detail, even revealing the tendency of power worship. By combing through the power writing styles of different writers and analyzing the different creative stances and cultural psychology behind them, we can further explore the ethics behind power narratives.