【作者】 董国俊；

【导师】 袁洪庚；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2014， 博士

【摘要】 从中国先锋作家中脱颖而出的莫言,经过三十余年对“乡土中国”的创造性写作,已经形成自己的“虚幻现实主义”小说风格。创作方法对梦境、幻觉、无意识、自由联想等“心理现实”的描写,美学范式对美与丑的并置以及哲学话语对辩证发和诡辩论的挪用,构成了莫言小说的虚幻现实主义风格。这种风格的生成内因是中国现代性的文化语境和对社会主义现实主义的强力反动,而生成外因是新感觉主义、意识流、魔幻现实主义等西方艺术流派对莫言的小说创作的深刻影响。莫言小说在叙述内容、叙述话语、叙述动作以及语言和文体上,都做出了富有成效的大胆实验。特别在叙述视角上的变换,赋予小说叙事极大的自由,也增加了叙述对象的虚幻性,这为莫言小说的虚幻现实主义风格奠定了“叙事”基础。莫言小说在形式上从未失去先锋性,而莫言的小说形式包含着对本民族的历史和现实的多层面、多角度的审视。莫言小说的人物谱系主要包括少年形象、“父性”形象、“母性”形象和知识分子形象。“把好人当坏人来写,把坏人当好人来写,把自己当罪人来写”是莫言小说的人物塑造方法,这改变了社会主义现实主义文学中人物形象的惯常描写模式。莫言小说常把人物放置在驳杂的社会语境中展开对人性的深度挖掘,悖论性的人物形象是虚幻现实主义的显著特征。莫言小说具有强烈的反思意识和批判精神。在历史书写中,莫言小说尽可能多地“还原”历史的各种建构性力量；其中,“外国人”形象的引入,成为透视中国历史的一个独特侧面。在现实描绘中,莫言小说通过讲述动物故事、鬼怪故事而生发的一系列怪诞事件,成为批判当下现实的一种特殊维度。乡土文化在中国文化结构中日渐式微,包括莫言在内的部分中国作家开启了一种“新乡土文学”写作。莫言的虚幻现实主义融合西方现代小说艺术以及中国传统文化与文学资源,在中国文学史上开拓了一片广阔的生发空间。在这个意义上,莫言小说的虚幻现实主义风格具有“世界文学”的品质。更多还原

【Abstract】 In his dissertation Hallucinatory Realism:Mo Yan’s Fictional World, the present author examines aspects of "hallucinatory realism", Mo Yan’s novel style designated by Nobel Prize Committee. He studies Mo Yan’s description of psychological reality (dreams, hallucinations, unconsciousness, free association, etc.), the juxtaposition of beauty and ugliness in aesthetic paradigm, the utilization of dialectics, and sophistry in philosophical discourse.While subverting the stale narrative style, Mo Yan the avant-gardist restores as much as possible constructive forces of recent Chinese history in his self-labeled "Northeast Gaomi Township" works. On one hand, Mo Yan’s novel style originates from the cultural context of Chinese modernity and powerful rebellion against socialist realism; on the other hand, it is formed under the influence of Western literary trends, such as modernism and magic realism.Mo Yan’s works are highly experimental in plot and structure and narrative discourse. His multi-voiced narrative perspectives contribute greatly to the art of fiction. Moreover, his multidimensional and multi-lateral explorations for Chinese history and reality are conveyed in most expressive ways, matching his narrative style.Mo Yan’s way of characterization is metaphysical, for he "regards good guys as bad ones, bad guys as good ones, and himself as a sinner". His paradoxical characters deconstruct the traditional stereotypical black-and-white type of characterization.The present author tries to prove that Mo Yan is a hallucinatory realist, instead of a magic realist, clarifying a long-standing hearsay of "Mo Yan the magic realist" among many critics. He argues that Mo Yan’s hallucinatory realism is of great significance to contemporary Chinese literature and world literature as well.更多还原