论韩少功《女女女》与拉美魔幻现实主义的关系  

On the Relationship between the Art of Han Shaogong's Women and the Latin American Magical Realism

作　　者：李珂玮[1,2] 

机构地区：[1]辽宁师范大学文学院,辽宁大连116081 [2]大连大学师范学院,辽宁大连116622

出　　处：《辽宁师范大学学报（社会科学版）》2013年第6期890-895,共6页Journal of Liaoning Normal University(Social Science Edition)

摘　　要：魔幻现实主义兴盛于拉丁美洲,拉美特有的政治、文化、地理环境,使其具有独特的艺术特征。1980年代魔幻现实主义舶来中国后,中国作家在对其借鉴的基础上进行了本土化的再创造。韩少功的《女女女》作为中国文坛魔幻现实主义的最初创作实践,既有与拉美魔幻现实主义的共同特征,如变形、夸张的表现手法,非常心态的写作视角,时间动作的循环往复,寓言式的人物形象等。同时,韩少功的创作又融入了本民族的艺术风格,使其表现出与拉美魔幻现实主义的区别,如艺术渊源不同,艺术重心不同,写作主题不同等。《女女女》中的魔幻艺术手法具有不可忽视的文学价值及研究意义。Magic Realism prospered in Latin America, and the special characteristics of politics, culture, ge- ography of Latin America enable it to have the unique artistic characteristics. Since the Magic Realism spread to China in the 1980s, Chinese writers had nativized re-creation based on it. Han Shaogong＇s Women, as the first literary creation practice of magic realism in China had the common characteristics with the magical realism of Latin America such as deformation, exaggerations, unnormal writing angle, time action moving in circles and allegorical figures. At the same time his writing integrates national artistic style and shows differences with magical realism of Latin America such as the difference of art origin, art focus, and art themes. The Magical realism in Women has important literary value and research signifi- cance.

关 键 词：《女女女》 魔幻现实主义 共性 区别 

分 类 号：I247[文学—中国文学]