莫言与阎连科乡土小说苦难意识比较研究

发布时间：2018-03-04 15:03

本文选题：莫言　切入点：阎连科　出处：《江南大学》2017年硕士论文　论文类型：学位论文

【摘要】：“诺奖”获得者莫言和“卡夫卡文学奖”荣膺者阎连科都是当代中国文坛具有国际影响力的作家,也是中国乡土小说创作重镇,莫言的“高密东北乡”和阎连科的“豫西山区”已成为世界文学版图中无法忽视的存在。两位作家皆出身农村,有过忍饥挨饿的童年,寂寞苦闷的青春以及多年沉沦乡村、耳闻目睹乡村悲剧与人生苦难的生活积淀,相似的人生经历引领他们不约而同地关注脚下的土地与乡土苦难,而不同的文学观念、创作立场以及地域文化等因素则使他们在表达上迥异有别。本文采用比较的方法,运用巴赫金狂欢化理论、叔本华悲剧理论、杨义叙事学理论以及阎连科的神实主义等对莫言和阎连科乡土小说中苦难意识进行平行研究,以此审理与考量二人乡土创作的独特价值。全文共分三章:第一章“莫言与阎连科乡土小说苦难意识的呈现”,从苦难源头着笔,对二人笔下的“乡村苦难”、“人生苦难”、“精神苦难”进行比较。莫言侧重通过“乡村苦难”凸显人性和重塑历史;阎连科重在揭露乡村现实。莫言重在表现命运的偶然性与可选择性,生命因无所畏惧的情爱追寻而呈现出喧闹色彩;阎连科多强调命运的必然性与不可选择性,生命因爱情虚妄和死亡逼近而呈现出静默基调。莫言重在表现人在“精神苦难”中的痛苦与反抗;阎连科着重刻画人在压迫下的精神萎缩与人性异化。第二章“莫言与阎连科乡土小说苦难书写的艺术表达”,二人均以狂欢化语言描写了狂欢化节庆场面、狂欢化人物形象,然莫言重在表现民间百姓蓬勃的生命力,阎连科笔下的“狂欢”却是苦难的前兆,狂欢高潮的顶点往往是悲剧的突然呈现;两位作家都擅长通过神异的想象书写一种“内在真实”,但莫言常常通过外在之“幻”追求人性之“真”,阎连科则通过“神实”之道直指现实之“实”。他们都采用多元视角叙述乡村苦难,但莫言擅以“儿童视角”诉说乡村悲情,阎连科偏好用“亡灵之眼”冷观人间百态。第三章“莫言与阎连科苦难意识探源及其精神出路”,莫、阎二人苦难意识的形成与其成长经历和创作立场有关。二人在写作初期都希望通过人伦温情淡化乡土苦难,但现实的残酷让他们意识到乡土苦难很难缓解,莫言选择以一种“鱼死网破”的气势描绘“高密百姓”与苦难的英勇抗争,而阎连科则以一种唯唯诺诺的姿态展现“豫西村民”对苦难的委曲求全。二人对苦难出路的不同选择也折射出他们生活的地域文化之差异。本文以苦难意识为切入口对莫言与阎连科乡土小说进行比较研究,这对于人们认识乡村苦难,了解乡土现实,探析人性幽微,把握当代文坛乡土写作现状具有一定认知意义与学术价值。
[Abstract]:Mo Yan, the winner of the Nobel Prize, and Yan Lianke, the winner of the Kafka Prize for Literature, are both writers with international influence in contemporary Chinese literature, and are also the major creative centers of Chinese local novels. Mo Yan's "Gaomi Northeast Township" and Yan Lianke's "Yuxi Mountain area" have become an indelible existence in the world's literary landscape. Both writers were born in rural areas and had a starving childhood, lonely and depressed youth, and years of depression in the countryside. Hearing, seeing and witnessing the accumulation of rural tragedies and human suffering, similar life experiences lead them to pay close attention to the land and local suffering under their feet, and to different literary concepts. The creative standpoint and regional culture make them different in expression. This paper adopts the method of comparison, applies Bakhtin's carnival theory, Schopenhauer's tragedy theory, etc. Yang Yi's narratology theory and Yan Lianke's deity realism study the consciousness of suffering in Mo Yan's and Yan Lianke's local novels in parallel. The thesis is divided into three chapters: the first chapter, "the emergence of the consciousness of suffering in Mo Yan and Yan Lianke's local novels", writes from the source of suffering. This paper compares the "country misery", "life suffering" and "spiritual suffering" written by the two men. Mo Yan focuses on highlighting human nature and reshaping history through "rural suffering". Yan Lianke focuses on exposing the rural reality. Mo Yan emphasizes on expressing the chance and selectivity of fate, and life presents a noisy color because of the fearless pursuit of love, while Yan Liankeduo emphasizes the inevitability and non-selectivity of fate. Life shows a silent tone because of the vanity of love and the approaching of death. Mo Yan focuses on the expression of human suffering and resistance in "spiritual suffering"; Yan Lianke focuses on depicting the spiritual atrophy and alienation of human nature under oppression. Chapter two, "the artistic expression of the suffering Writing of Mo Yan and Yan Lianke's Local novels", both describe the carnival festival scene and the character image in the carnival language. However, Mo Yan focuses on showing the vigorous vitality of the folk people, but Yan Lianke's "carnival" is the precursor of suffering, the climax of carnival climax is often the sudden appearance of tragedy. Both writers are good at writing a kind of "inner reality" through divine imagination, but Mo Yan often pursues the "truth" of human nature through external "illusion", while Yan Lianke points directly to the "reality" of reality through the way of "divine reality". Multiple perspectives on rural misery, However, Mo Yan is adept at telling rural sadness from a "children's perspective". Yan Lianke prefers to use "the Eye of the Dead" to view the world in a variety of ways. Chapter III, "Mo Yan and Yan Lianke's consciousness of suffering and its spiritual outlet", Mo, The formation of Yan Er-ren 's suffering consciousness is related to his growing up experience and his creative stand. Both of them hope to desalinate the local suffering through human kindness at the beginning of their writing, but the cruelty of reality makes them realize that it is difficult to alleviate the local suffering. Mo Yan chose to portray the heroic struggle between the "high-density people" and the suffering with a momentum of "killing the fish and breaking the net". Yan Lianke, on the other hand, showed the misgivings of the villagers in the west of Henan with a kind of submissive attitude. Their different choices on the way out for suffering also reflected the difference of their regional culture. This article is based on the consciousness of suffering. The entrance makes a comparative study of Mo Yan and Yan Lianke's local novels. This has certain cognitive significance and academic value for people to understand the rural suffering, understand the local reality, probe into the human nature and grasp the present situation of the local writing in the contemporary literary world.
【学位授予单位】：江南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.42

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