本文選題：莫言 + 魔幻現(xiàn)實主義��； 參考：《東北師范大學(xué)》2015年碩士論文

【摘要】：莫言是中國八十年代文壇上生于斯、長于斯并創(chuàng)作于斯的典型作家,其筆下的高密東北鄉(xiāng)奇幻瑰麗、血肉豐滿,是他熔中西方文化于一爐的產(chǎn)物。對拉美魔幻現(xiàn)實主義的欣賞使他對其進行模仿、消化及再創(chuàng)造,這種對魔幻現(xiàn)實主義的本土性轉(zhuǎn)化使莫言的作品得以大放光彩,2012年諾貝爾文學(xué)獎評審委員會在其授獎詞中提到:“……意識形態(tài)和各種形式的改革運動來來去去,但人類自私和貪婪的本性仍然存在……在莫言的作品里,世界文學(xué)所發(fā)出的聲音淹沒了其他大多數(shù)同時代人的聲音……”[1]他正以融中西特色于一體的本土化魔幻筆法來沖擊并震撼著中國文壇。在長期的創(chuàng)作實踐中,莫言將自己的文字牢牢扎根于“高密東北鄉(xiāng)”這個奇幻瑰麗的文學(xué)王國中;在故鄉(xiāng)的所見所聞很大程度上影響了其個人寫作風(fēng)格的形成。他意識到,要達到藝術(shù)上的成熟并尋求寫作上的突破,就不能只依附于作為“舶來品”的拉美魔幻現(xiàn)實主義。在模仿借鑒其主題、結(jié)構(gòu)和語言等方面的同時,要將鄉(xiāng)土民間作為作品的生命源泉,以此探索魔幻現(xiàn)實主義與中國傳統(tǒng)文化結(jié)合的契機。《檀香刑》的完成標(biāo)志著莫言有意識地大踏步后退,完成對本土的回歸,也完成了從模仿到融合再到創(chuàng)新的對拉美魔幻現(xiàn)實主義的本土性轉(zhuǎn)化,形成了獨具一格的當(dāng)代小說敘事風(fēng)格。諾貝爾文學(xué)獎掀起的莫言風(fēng)潮一方面肯定了莫言優(yōu)于同時代其他作家的創(chuàng)作天賦,另一方面卻折射出后諾獎時代文學(xué)界的功利之象,這值得作家、研究者和讀者一同深思。
[Abstract]:Mo Yan is a typical writer who was born in the literary world in 1980's, grew up in this field and created in his works. His novels of Gaomi Northeast Township are fantastic and rich in flesh and blood, which is the product of his fusion of Chinese and Western culture.His appreciation of Latin American magic realism led him to imitate, digest and recreate it.This native transformation of magic realism has given Mo Yan's work a great splendor, as the 2012 Nobel Prize Committee for Literature said in its award: ".Ideology and all forms of reform movement come and go, but human selfishness and greed still exist.In Mo Yan's works, the voices of most of his contemporaries were drowned out by the voices of the world literature. "[1] he is striking and shaking the Chinese literary world with a native magic style that integrates Chinese and Western characteristics.In his long creative practice, Mo Yan firmly rooted his writing in the fantastic and magnificent literary kingdom of Gaomi Northeast Township, and his personal writing style was greatly influenced by what he saw and heard in his hometown.He realized that in order to achieve artistic maturity and seek a breakthrough in writing, he could not only rely on Latin American magic realism as an "exotic".While imitating and learning from its theme, structure and language, it is necessary to regard the local folk as the source of life of the work.In order to explore the opportunity of combining magic realism with Chinese traditional culture, the completion of Honolulu punishment marks Mo Yan's conscious step back and his return to China.It also completes the native transformation of Latin American magic realism from imitation to fusion to innovation, and forms a unique narrative style of contemporary novels.The trend of Mo Yan caused by the Nobel Prize for Literature on the one hand affirms that Mo Yan is superior to other writers of his time, but on the other hand reflects the utilitarian image of the literary world in the post-Nobel Prize era, which is worth pondering by writers, researchers and readers.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.42

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本文編號：1741849