从莫言和莫瑞森作品看后现代社会的审丑意识  

An Exploration of the Consciousness of “Ugliness” in Mo Yan's and Morrison's Works

作　　者：苏冬凉[1] 傅志雄[1] 

机构地区：[1]泉州师范学院外国语学院,福建泉州362000

出　　处：《西华大学学报（哲学社会科学版）》2014年第6期39-41,46,共4页Journal of Xihua University(Philosophy & Social Sciences)

基　　金：泉州市哲学社会科学研究2013年规划项目"从诺贝尔文学奖作品看后现代社会的审丑意识"(批准号:2013H35)的阶段性成果

摘　　要：作为诺贝尔文学奖获得者的中、美作家代表,莫言和莫瑞森都可以称得上是"丑艺术家":莫瑞森的作品展示了美国上个世纪60年代进入后现代时期的审丑盛世;而莫言的作品则展示了中国自上个世纪80年代进入后现代时期的审丑特点。本论文通过展示"两莫"作品中的外表之丑、自然之丑、语言之丑和意象之丑探讨人物的人生之丑和人性之丑,并最终指出历史之丑是一切丑陋的根源。审丑的目的在于:认识丑——改变丑——通向美。As the representative Nobel Prize winners in China and America, MoYan and Morrison can be regarded as the artists of the appreciation of ＂ugliness＂. Morrison＇ s works show the characteristics of the appreciation of ＂Ugliness＂ from the 60s of 20th Century in America, whereas MoYan＇ s works reveal the characteristics of ＂Ugliness＂ from the 80s in China. This paper aims to expose the ugliness of people＇ s characters and lives through a depiction of the ugliness of appearance the ugliness of nature, the ugliness of words and the ugliness of images, thus pointing out that the source of all these ＂ugliness＂ is the ugliness of history. The purpose of the appreciation of ＂ugliness＂ is a pursuit of beauty through the recognition and the change of the ＂ugliness＂.

关 键 词：莫言 莫瑞森 后现代 审丑 

分 类 号：I041[文学—文学理论]