两个“魔盒”,不同风景——莫言《酒国》与略萨《胡利娅姨妈与作家》比较  

Two “Magic Boxes”: A Comparative Study between Mo Yan's The Republic of Wine and Llosa's Aunt Julia and the Scriptwriter

作　　者：陈晓燕[1] 

机构地区：[1]湖北文理学院文学院

出　　处：《中国比较文学》2018年第1期172-184,共13页Comparative Literature in China

基　　金：国家社会科学基金重大招标项目"世界性与本土性交汇:莫言文学道路与中国文学的变革研究"(编号13&ZD122)的阶段性成果

摘　　要：2010年度诺贝尔文学奖得主、秘鲁作家略萨的小说《胡利娅姨妈与作家》对中国作家莫言产生了重要影响。莫言的小说《酒国》不仅借用了《胡利娅姨妈与作家》的"中国套盒"式结构,还在人物设计、"小说中的小说"、元小说叙事等方面都对其多有学习和借鉴。但是莫言并没有照搬略萨,在学习略萨的基础上,他为小说贯注了鲜明的"自我"元素,打造出独特的《酒国》。《酒国》记录了莫言既要学习外国文学又要挣脱外国文学束缚、创造富有自我特色的文学作品的双向努力;在中国当代文学学习外国文学的大潮中,《酒国》对《胡利娅姨妈与作家》的成功借鉴与改造提供了一份重要的"莫言经验"。This article, by comparing two novels i.e. The Republic of Wine and Aunt Julia and the Scriptwriter, finds noticeable evidence to show the impact of the Peru writer Llosa, the 2010 winner of the Nobel Prize for literature, on the Chinese writer Mo Yan, the 2012 winner. Mo＇s novel The Republic of Wine has not only borrowed the structure of ＂Chinese magic boxes＂ from Aunt Julia and the Scriptwriter, but also learned from and is influenced by various aspects in it, such as the character design, ＂the novel in novel＂, and metafic- tional narrative. However, Mo does not simply copy Llosa＇s work. He creates his master- piece by blending Llosa＇s design of the novel structure with his distinctive ＂self elements＂. Generally, The Republic of Wine tracks the process of Mo Yan＇s efforts both to learn from foreign literature and remain independent to create localized literature labeled ＂Mo Style＂, which, is a masterpiece example in the wave of learning from foreign counterparts in Chinese contemporary literature, and thus provides an important case of ＂Mo Yan Experience＂.

关 键 词：莫言 略萨 《酒国》 “中国套盒”结构 重口味叙事 文体杂糅 

分 类 号：I207.42[文学—中国文学] I778.074