莫言与福克纳作品中“非常规生命观”的比较研究

发布时间：2018-05-31 06:49

本文选题：故乡 + 背景　；参考：《辽宁大学》2014年硕士论文

【摘要】：对于莫言来说，福克纳和马尔克斯是“两座灼热的高炉”，对他的文学创作产生过重要的影响，“我觉得我们就像是冰块，如果离他们太近，就很容易被迫融化。但是这两位风格化的作家，就像鸦片一样，一旦吸到之后，很容易上瘾。他们会产生极大的磁性，吸引你去模仿。这就像是《百年孤独》中，吉普赛人带到马贡多的磁铁一样，，会吸走许多东西。”①那么在莫言对福克纳的接受与改造中，首先就要讲到莫言家乡高粱地上的传奇世界。某种程度上，我们可以说是福克纳的“约克纳帕塔法县”为我们带来了莫言传奇的“高密东北乡”。虽然莫言和福克纳所处的地域与时代都有很大的差异性，但从他们的创作中我们却可以发些许多可比之处，异样的童年经验与生活经历对于他们的创作都产生了惊人的相似影响。福克纳把他的邮票大小的故乡描写成为通往世界的通道，这就是他笔下所虚构出的约克纳帕塔法县。在这个庞大的文学世系中，我们不仅仅可以领略到一般的美国南方乡土文学中南北战争前后美国南方的历史文化，而且更加可以体会到作者对人类命运的关照。而多年后位于世界另一端的莫言也以他所构建的“高密东北乡王国”向福克纳致敬，在他的作品中，我们也同样看到了作家故乡高密的历史变迁和故乡人民在不同历史时期的生活。福克纳是向历史的深处看的，在他的作品中，一切都会被往昔所“奴役”，往昔可以压倒一切。无独有偶，在世界的另一端，莫言似乎也在用着这样一种回首的姿态在向福克纳致敬。在莫言的作品中，深沉的文明批判主题深藏于讴歌原始生命力的主题中，而这其中无时不流露出他向后看的历史时间意识。在他的笔下，文明被视作一个压抑性的机制，他毫不客气地将文明置于生命力的对立面，由此反观现代人所普遍面临着的生存困境。这其中都深藏着二者在人类生存困境之上的非常规的生命观。在小说的艺术创作上，福克纳与莫言都是伟大的革命者，他们都敢于并成功地对各自的作品中的艺术手法做了一些伟大探索与突破，他们擅长用多角度的叙述手法、人物的内心独白与意识流以及交错的时空和象征来丰富自己的作品。这两位世界文坛的巨匠都力图在自己的故乡之地上挖掘出具有普遍性的主题，而结果是，他们都早已跳出了自己的故乡，同时在各自的故乡世界里，莫言与福克纳又有着巨大的差异。
[Abstract]:For Mo, Faulkner and Marquez are "two hot blast furnaces" that have had an important impact on his literary creation. "I think we're like ice cubes, and if we're too close to them, it's easy to melt. But these two stylized writers, like opium, are addictive once they are sucked. They produce great magnetism and attract you to imitate. This is like the magnet that the Gypsies bring to Magondo in "100 years of Solitude". "1 so in Mo Yan's acceptance and transformation of Faulkner, the legendary world on the sorghum field in Mo Yan's hometown must be mentioned first. To some extent, we can say that Faulkner's "Yokknapatafa County" brought us the legend of Mo Yan's "Gaomi Northeast Township." Although Mo Yan and Faulkner live in different regions and times, we can make a lot of comparisons from their works. Different childhood experiences and life experiences have a striking similar impact on their creation. Faulkner described his stamp-sized hometown as a gateway to the world, his fictional Yoknapatafa county. In this vast literary lineage, we can not only appreciate the history and culture of the American South before and after the Civil War, but also appreciate the author's concern for the fate of mankind. Many years later, Mo Yan, who was on the other side of the world, paid tribute to Faulkner with his "Kingdom of the Northeast of Gaomi," in his works. We also see the high-density historical changes of the writer's hometown and the life of the people in different historical periods. Faulkner looked to the depths of history. In his works, everything was enslaved by the past, and the past could prevail. Incidentally, on the other side of the world, Mo Yan seemed to be paying homage to Faulkner with such a retrospect. In Mo Yan's works, the deep theme of civilization criticism lies in the theme of eulogizing the primitive vitality, which always reveals his historical sense of time. In his works, civilization is regarded as a repressive mechanism, he puts civilization on the opposite of vitality, and thus looks back at the living predicament that modern people generally face. There are two unconventional views of life on the plight of human existence. In the artistic creation of the novel, Faulkner and Mo Yan were both great revolutionaries. They both dared and succeeded in making some great explorations and breakthroughs in the artistic techniques in their respective works. They were good at using multi-angle narrative techniques. The character's inner monologue and stream of consciousness as well as interlaced time and space and symbol to enrich their own works. Both of the world's literary giants tried to dig up universal themes in their native land, and as a result, they both had already moved out of their own homeland, and in their own homelands at the same time, Mo Yan and Faulkner have a huge difference.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I106-03

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