發(fā)布時間：2018-05-24 04:48

  本文選題：莫言小說 + 魔幻書寫�。� 參考：《曲阜師范大學》2017年碩士論文

【摘要】：作為新時期文學最有代表性的作家之一,莫言是在對域外文學的借鑒和對本土文化資源的挖掘中形成了自己的創(chuàng)作風格。域外文學思潮促使莫言發(fā)掘文學創(chuàng)作中的“本我”:他借鑒�？思{和馬爾克斯的創(chuàng)作經(jīng)驗,在作品中構建了以“高密東北鄉(xiāng)”為領地的文學世界,并運用神話思維創(chuàng)作出具有中國特色的魔幻文學作品。中國本土文化所積淀下來的神話故事和民間傳說,不但為莫言提供了源源不斷的創(chuàng)作靈感和素材,而且還為莫言的作品增添了魔幻色彩。他積極吸取中外文學的營養(yǎng),在自身主體悟性和敏銳感覺能力的基礎上,探索并形成了莫言式的“魔幻書寫”。本文所謂的“魔幻書寫”,不是針對莫言作品具有“魔幻現(xiàn)實主義”風格的簡單概括,也不是將其作品置于“主義”框架內(nèi)的影響研究,而是著意于對其小說魔幻內(nèi)容本身意蘊的闡釋和審美訴求的探究。“作為老百姓寫作”的莫言,鐘情于敘寫故鄉(xiāng)民間的故事,塑造民間人物形象。他筆下的民間既體現(xiàn)了對原始蓬勃生命力的審美觀照,也在一定程度上展現(xiàn)了狂歡的生命樣態(tài)。文學的狂歡化,在某種程度上意味著對既定生活秩序的破壞,對權威律令的消解,呈現(xiàn)出人類的本真面貌。從正統(tǒng)價值觀念的角度看待文學狂歡化,它是脫離常軌的,但也正因遠離日常生活規(guī)范和讀者的閱讀期待,這種狂歡便具有了神奇的魔幻色彩。莫言作品魔幻特征的呈現(xiàn),還體現(xiàn)在他獨特的感覺書寫。莫言在認識事物的過程中,會調(diào)動自己全身的感官去感受外部世界,并在同一時間形成對對象物氣味、聲音、顏色等密集性的認識。這種感受生活的方式,影響了其文學表現(xiàn)的方式,以至于作品中出現(xiàn)了大量的超出敘事常規(guī)的通感描寫,為文本增添了魔幻感。此外,莫言還通過對神話故事的結構置換和鬼神故事的直接敘寫,構造詭譎的輪回“他界”等,打破生死閾隔和時空界限,描繪出人與自然萬物的神秘聯(lián)系。這是民間萬物有靈觀念和神話傳說故事的文學藝術表現(xiàn)。在莫言“魔幻書寫”的背后,是對被遮蔽的自然人事真實狀況的揭橥:本真的生命形態(tài),萬物有靈的民間觀念,“自由自在”和“藏污納垢”并存的民間場域,真實的主體悟性和原生感覺……莫言對這種“真實”不加修剪的文學呈現(xiàn),逾越了現(xiàn)實世界的日常規(guī)范和道德約束,超出了讀者的經(jīng)驗閾值和理性閾限,呈現(xiàn)出新異的魔幻色彩。本論文主要分四部分來論述莫言小說的魔幻書寫。緒論部分,除介紹本選題的研究價值、作家的創(chuàng)作概況及與本選題的相關研究綜述之外,還通過梳理“魔幻現(xiàn)實主義”這一術語的來源、發(fā)展與內(nèi)涵來界定本文所謂“魔幻書寫”的定義。第一章主要論述莫言小說魔幻書寫的特征:“狂歡化民間世界的構筑”、“神話思維的運用”和“叢生感覺的書寫”。第二章具體分析莫言小說魔幻書寫的文本表現(xiàn):“塑造鮮活的鬼神形象”、“構筑詭譎的輪回‘他界’”和“摹畫現(xiàn)實人類的‘鬼性’”。第三章論述莫言小說魔幻書寫的成因:“底色:饑餓、孤獨的童年記憶”、“積淀:‘萬物有靈’的民間文化熏染”和“啟發(fā):與文學大師的精神對接”。
[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".
【學位授予單位】：曲阜師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.42

【參考文獻】

相關期刊論文 前10條

1 李云雷;;我的文學觀[J];當代作家評論;2016年05期

2 季紅真;;大地詩學中心靈磁場的核心故事——莫言小說的生殖敘事[J];文藝爭鳴;2016年06期

3 張雪飛;;莫言小說狂歡人物的動物性訴說——從《檀香刑》與《蛙》說起[J];當代作家評論;2015年06期

4 季紅真;;莫言小說與中國敘事傳統(tǒng)[J];文學評論;2014年02期

5 莫言;;我的文學經(jīng)驗[J];蒲松齡研究;2013年01期

6 王德領;;莫言與幻覺現(xiàn)實主義[J];首都師范大學學報(社會科學版);2013年01期

7 劉再復;;莫言的鯨魚狀態(tài)[J];當代作家評論;2013年01期

8 張旭東;;作為歷史遺忘之載體的生命和土地——解讀莫言的《生死疲勞》[J];現(xiàn)代中文學刊;2012年06期

9 葉永勝;;神話重述的意義與策略[J];天府新論;2012年05期

10 陳思和;;人畜混雜,陰陽并存的敘事結構及其意義[J];當代作家評論;2008年06期

相關博士學位論文 前1條

1 董國俊;莫言小說的虛幻現(xiàn)實主義[D];蘭州大學;2014年

相關碩士學位論文 前4條

1 鞏曉悅;論莫言小說的幻覺敘事[D];華東師范大學;2014年

2 馬斐;論莫言作品的狂歡美[D];山東師范大學;2009年

3 王保中;莫言小說的魔幻現(xiàn)實主義風格[D];河南大學;2008年

4 張開艷;論莫言小說的狂歡化敘事[D];廣西師范大學;2006年

，

本文編號：1927740