精神平衡术:论莫言的梦魇叙事  

Mental Balance:On Mo Yan's Nightmare Narration

作　　者：张细珍[1] ZHANG Xizhen(College of Humanities,Jiangxi University of Finance and Economics,Nanchang 330013,China)

机构地区：[1]江西财经大学人文学院,江西南昌330013

出　　处：《浙江师范大学学报（社会科学版）》2018年第6期16-23,共8页Journal of Zhejiang Normal University(Social Sciences)

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"(13&ZD122)

摘　　要：狂欢化的梦幻叙事与幽闭型的梦魇叙事,是莫言小说风格"轻"与"重"的表现。《怀抱鲜花的女人》《拇指铐》《生死疲劳》讲述鬼魅故事,以重复循环的结构、不及物的情节营构密集压抑的叙事时空,描述人物在个体欲望、人际暴力、历史轮回的梦魇中挣扎的诡异命运,于意义的迷雾中呈现荒诞、酷虐的美学特征。莫言梦魇叙事的源头可追溯至童年的恐惧体验以及时代的创伤记忆。其梦魇叙事与狂欢叙事互为变体,体现作者精神的平衡术:狂欢叙事是童年饥饿孤独体验、暴戾梦魇记忆的代偿;梦魇叙事如实还原胆怯和恐惧,呼唤悲剧狂欢式解放。当梦魔被狂欢化,沉重的梦魇轻盈一跃,精神获得轻与重的平衡。The carnival fantasy narration and claustrophobic nightmare narration are the expressions of “lightness” and “heaviness” of Mo Yan’s novel style. The Woman Embracing Flowers , The Handcuffs of Thumb and Fatigue of Life and Death tell the stories of ghosts, construct the densely repressed narrative time and space with the circular repeating structure and the intransitive plot, describe the strange fate of the characters in the individual desire, interpersonal violence and the nightmare of historical cycles, and show absurdity and abuse aesthetic features in the meanings. The origin of Mo Yan’s nightmare narration can be traced back to the fear experience of childhood and the traumatic memories of the times. Being the variants of each other, the nightmare narration and the carnival narration reflect the balance of the author’s spirit： the carnival narration is the compensation for the loneliness and hunger of childhood and the memory of the violent nightmare; the nightmare narration truthfully restores the timidity and fear, and calls for the liberation of the tragic carnival. When the nightmare is carnival, the heavy nightmare leaps lightly, and the spirit gains the balance between lightness and heaviness.

关 键 词：莫言 梦幻叙事 梦魇叙事 变体 

分 类 号：I207.4[文学—中国文学]