论莫言小说的魔幻书写

发布时间：2018-05-24 04:48

本文选题：莫言小说 + 魔幻书写　；参考：《曲阜师范大学》2017年硕士论文

【摘要】：作为新时期文学最有代表性的作家之一,莫言是在对域外文学的借鉴和对本土文化资源的挖掘中形成了自己的创作风格。域外文学思潮促使莫言发掘文学创作中的“本我”:他借鉴福克纳和马尔克斯的创作经验,在作品中构建了以“高密东北乡”为领地的文学世界,并运用神话思维创作出具有中国特色的魔幻文学作品。中国本土文化所积淀下来的神话故事和民间传说,不但为莫言提供了源源不断的创作灵感和素材,而且还为莫言的作品增添了魔幻色彩。他积极吸取中外文学的营养,在自身主体悟性和敏锐感觉能力的基础上,探索并形成了莫言式的“魔幻书写”。本文所谓的“魔幻书写”,不是针对莫言作品具有“魔幻现实主义”风格的简单概括,也不是将其作品置于“主义”框架内的影响研究,而是着意于对其小说魔幻内容本身意蕴的阐释和审美诉求的探究。“作为老百姓写作”的莫言,钟情于叙写故乡民间的故事,塑造民间人物形象。他笔下的民间既体现了对原始蓬勃生命力的审美观照,也在一定程度上展现了狂欢的生命样态。文学的狂欢化,在某种程度上意味着对既定生活秩序的破坏,对权威律令的消解,呈现出人类的本真面貌。从正统价值观念的角度看待文学狂欢化,它是脱离常轨的,但也正因远离日常生活规范和读者的阅读期待,这种狂欢便具有了神奇的魔幻色彩。莫言作品魔幻特征的呈现,还体现在他独特的感觉书写。莫言在认识事物的过程中,会调动自己全身的感官去感受外部世界,并在同一时间形成对对象物气味、声音、颜色等密集性的认识。这种感受生活的方式,影响了其文学表现的方式,以至于作品中出现了大量的超出叙事常规的通感描写,为文本增添了魔幻感。此外,莫言还通过对神话故事的结构置换和鬼神故事的直接叙写,构造诡谲的轮回“他界”等,打破生死阈隔和时空界限,描绘出人与自然万物的神秘联系。这是民间万物有灵观念和神话传说故事的文学艺术表现。在莫言“魔幻书写”的背后,是对被遮蔽的自然人事真实状况的揭橥:本真的生命形态,万物有灵的民间观念,“自由自在”和“藏污纳垢”并存的民间场域,真实的主体悟性和原生感觉……莫言对这种“真实”不加修剪的文学呈现,逾越了现实世界的日常规范和道德约束,超出了读者的经验阈值和理性阈限,呈现出新异的魔幻色彩。本论文主要分四部分来论述莫言小说的魔幻书写。绪论部分,除介绍本选题的研究价值、作家的创作概况及与本选题的相关研究综述之外,还通过梳理“魔幻现实主义”这一术语的来源、发展与内涵来界定本文所谓“魔幻书写”的定义。第一章主要论述莫言小说魔幻书写的特征:“狂欢化民间世界的构筑”、“神话思维的运用”和“丛生感觉的书写”。第二章具体分析莫言小说魔幻书写的文本表现:“塑造鲜活的鬼神形象”、“构筑诡谲的轮回‘他界’”和“摹画现实人类的‘鬼性’”。第三章论述莫言小说魔幻书写的成因:“底色:饥饿、孤独的童年记忆”、“积淀:‘万物有灵’的民间文化熏染”和“启发:与文学大师的精神对接”。
[Abstract]:As one of the most representative writers in the new period literature, Mo Yan has formed his own creative style in the reference of foreign literature and the excavation of local cultural resources. The extraterritorial literature trend of thought prompted Mo Yan to explore "the original" in literary creation: he used to learn from Faulkner and Marcks's creative experience and set up in his works. "Gaomi northeast township" is the literary world of the territory, and uses mythological thinking to create magic literary works with Chinese characteristics. The myths and folktales accumulated by Chinese native culture not only provide Mo Yan with continuous creative inspiration and material, but also add magic color to Mo Yan's works. The "magic writing" of Mo Yan is explored and formed on the basis of the nutrition of Chinese and foreign literature, on the basis of his own subjective understanding and the ability to feel sensitive. The so-called "magic writing" is not a simple summary of the "magic realism" style of Mo Yan's works, nor is it the influence of his works in the framework of "doctrine". It is intended to explore the interpretation and aesthetic appeal of the magic content of his novels. "As a common people writing", Mo Yan is fond of narrating the folk stories and shaping the folk characters. The folk of his novels not only reflect the aesthetic picture of the primitive vitality, but also show the carnival to a certain extent. The carnival of life means that the carnival of literature, to some extent, means the destruction of the established order of life, the elimination of the authoritative decrees, and the true face of human beings. From the perspective of orthodox values, the carnival of literature is divorced from normal, but it is also due to the distance from the norms of daily life and the readership's reading expectations. It has magical magic color. The presentation of the magic features of Mo Yan's works is also embodied in his unique feeling writing. In the process of knowing things, Mo Yan will mobilize his body's senses to feel the external world, and form the dense awareness of the odor, sound, and color of objects at the same time. The way of feeling life affects the way of feeling. By the way of his literary expression, there are a large number of synaesthesia descriptions beyond the narrative routinely, which adds magic to the text. In addition, Mo Yan also constructs a treacherous "boundary" through the replacement of the structure of mythology and the direct narration of the story of ghosts and gods, and breaks the threshold of life and death and the boundaries of space and time, and depicts human and self. This is the mystical connection of all things. This is the literary and artistic expression of the spiritual and mythological stories of all things. Behind Mo Yan's magic writing, it is the true state of the obscured natural personnel: the true life form, the spiritual folk concept of all things, the coexistence of "free and free" and "Tibetan dirt" in the folk field, The true subjective perception and the original feeling. Mo Yan's literary presentation of this "real" unpruned literature, overstepping the daily norms and moral constraints of the real world, is beyond the reader's threshold of experience and the threshold of reason, and presents a new magic color. This thesis is mainly divided into four parts to discuss the magic writing of Mo Yan's novels. Besides introducing the research value of this topic, the general situation of author's creation and the related research review of this topic, it also defines the definition of magic fiction by combing the source of the term "magic realism", development and connotation. The first chapter mainly discusses the characteristics of magic writing in Mo Yan's Novels: "Carnival folklore" The construction of the boundary ", the use of mythological thinking" and "the writing of the sense of the clump". The second chapter concretely analyzes the text expression of magic writing in Mo Yan's Novels: "shaping the vivid image of ghost and God", "constructing the treacherous circle of his world" and "the ghost" of the realistic human being. The third chapter discusses the causes of the magic writing of the novel. "Bottom color: hunger, lonely childhood memory", "accumulation": the "folk culture" of "all things are vigorous" and "inspiration: spiritual connection with literary masters".
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.42

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