蕭紅一生顛沛流離、短促悲涼，飽受漂泊的孤寂和病痛的折磨。於香港完成的《呼蘭河傳》，是其後期代表作。《呼蘭河傳》全書共七章，十四萬餘字，其中沒有貫穿始末的人物和情節，各章可自成單元，獨立成篇；將其連綴起來，則是一篇敘事詩，一幅多彩的風土畫，一串淒婉的歌謠。她一方面採取俯視的角度，以悲憫、批判的態度書寫故鄉；一方面注入個人情感，表現強烈的主觀抒情色彩，時時流露悲涼的感慨，敘事與寫景，呈現荒涼情調。本文擬藉由美國學者J‧希利斯‧米勒的《小說與重複》，對英國文學所作的分析和闡釋為依據，探究《呼蘭河傳》中「初始場景」(theprimalscene)的悖論性話語，以及文本故事裡的「互文性」(intertexuality)、「複調」(polyphonytheory)敘事等，這些架構於重複美學下的深層意蘊。

All Xiao Hong's life, which was short and miserable, suffered setbacks and hardships, loneness of wandering, and torments of ailments. "Biography of Hulan River," of which she completed in Hong Kong, was her representative work of later period that has seven chapters and more than 140,000 words. It does not have characters and plots that cohere from the beginning to the end, but each chapter can be an independent unit. To join together each chapter, it can be a narrative poem, a colorful genre painting, and a series of sorrowful and gentle songs. On the one hand, she adopted the overlooking angle to write her hometown with a sympathetic and critical attitude; on the other hand, she infused personal emotions, exhibited an intense subjective and lyric hue, revealed a dismal sigh often, and her narration and scene description present a desolate sentiment. On the basis of American scholar J. Hillis Miller's analysis and exposition of British literature in "Fiction and Repetition," the dissertation tried to explore the paradoxical discourse of the primal scene in "Biography of Hulan River," as well as the intertexuality and polyphony theory--narration in the text, namely, to probe into the deep significance constructed under the aesthetics of repetition.