【作者】 王西强；

【导师】 王荣；

【作者基本信息】 陕西师范大学 ， 中国现当代文学， 2006， 硕士

【摘要】 莫言小说叙事视角的丰富多样、变化万端在当代文坛上是一个独特的存在。他的小说叙事文本实验所达到的突破传统、标新立异的审美效果，所造成的叙事秩序上的新与奇，所带来的阅读接受上的愉悦与困难，所追求的感觉描摹上的爆炸和文化取向上的多样性，所张扬的语言的流畅协律和色彩的狂欢以及意象的纷繁，造就了令人称道的“莫言体小说”。本文以对莫言小说的叙事视角及叙事功能的历时性考察与分析为切入点，对莫言小说的叙事风格进行一次全面而系统的考察、对各评家论者的观点进行一次全面的比较梳理和提高，进而对莫言小说的叙事努力所实现的审美风格进行适当的言说和学理性研究。 全文由引论、正文、结语组成。 引论部分简要介绍莫言小说创作和研究的状况，说明论文的切入角度。 正文分四个部分展开论述： 一、故乡记忆和童年视角(1981——1985年的莫言小说叙事)。本章讨论莫言早期小说中的乡村生活经验存留对其小说童年叙事视角意义生成的影响，对其1981至1985年的小说进行了较为仔细的文本分析，考察其早期小说的叙事视角类型及其美学效果。 二、“我向思维”、家族故事和新历史主义叙事。“我向思维”叙事在莫言的全部中短篇小说中占很大比重。乡村往事中的青少年叙述者“我”和奇幻的成年故事里的叙述者“我”，向家族传奇叙事中的复合型人称视角转化，莫言在“高密东北乡”找到了叙事激情，进而创作出新历史主义叙事的模范文本——《丰乳肥臀》。 三、多重话语和复调叙事：《天堂蒜薹之歌》、《檀香刑》和《四十一炮》。莫言的民间文化立场和天然的先锋小说家的创新、解构意识，使莫言在创作中给予故事人物以平等的话语权，从而使其小说的叙事呈现出话语合奏和狂欢化的复调形态。同时，他还积极向民族传统叙事模式和西方叙事新势力学习借鉴，并大胆创新。 四、频繁的视角转换造成的叙事迷宫：《十三步》、《酒国》。莫言关于文学创作要搞点极端的主张，让他在其小说叙事探索中把人称视角转换发展到了极致，这在改造读者的惰性阅读习惯的同时，也造成了严重的阅读障碍。他以本名介入故事，造成了虚实相间的复调叙事形态，而元小说叙事技巧的运用则部分地取消更多还原

【Abstract】 The various and ever-changing narrative perspectives of MoYan’s fiction is a unique existence in contemporary Chinese literary circle. The unorthodox aesthetic effects created by his narrative experiments, such as the novelty in narrative order, the pleasure and tiredness in reading, the explosion of sensory description, the variety of cultural pursuits, the fluency and rhyming of language, the carnival of colors and the richness of imagoes, bring up the compliment-winning ’Mo Yan Style’. The following paper begins with a diachronic review and text analysis on the narrative perspectives and function of Mo Yan’s fiction, then goes on with a thorough and systematic comparison between various comments on Mo Yan’s narrative styles, and academically appraises the aesthetic style actualized by his efforts in narration.The paper consists of the Introduction, the Body and the Epilogue.The Introduction brings in the state of Mo Yan’s fiction creation, the study on it and the perspectives of the paper.The Body includes four parts, as follows:Part I, Country Memory and Childish Perspective. This part deals with Mo Yan’s country memory and its influence on the childish perspective in Mo Yan’s early fiction, and explores the types of early narrative perspectives and their aesthetic effects by conducting a detailed text analysis.Part II, ’I-centered Thinking’, Family Story and Neo-historicist Narration. ’I-centered’ narration constitutes a majority in Mo Yan’s short stories. The transformation of ’I’ from the narration of childish country memory and adult legend to the compound perspective of the first and third persons makes it possible for Mo Yan to gain narrative passion in ’Northeast town, Gaomi’, and creates the model text of Neo-historicist narration, Plump Breast, Budding Bottom.Part III, Multi-discourse and Polyphonic Narration: The Garlic Ballads, Sandal Torture and Forty-one Gunshots. Mo Yan’s civilian cultural standpoint and his bom sense of literary destruction as a vanward novelist give the characters of his fiction equal narrative right as the narrator, which entitles his fiction a state of multi-discourse and polyphonic narration. Meanwhile, he learns eagerly and positively from the conventional and western narrative styles.更多还原