让现实体验插上神话的翅膀——莫言《罪过》的魔幻叙事及其与鲁迅文学的互文性分析  

Giving Wings of Myth to Realistic Experience——The Magical narrative of MO Yan’s“Guilt”and Its Intertextuality with LU Xun Literature

作　　者：王学谦[1] WANG Xue-qian

机构地区：[1]吉林大学文学院,长春130012

出　　处：《求是学刊》2023年第3期142-151,共10页Seeking Truth

基　　金：吉林省社科基金项目“鲁迅传统与当代文学”(2021B177)。

摘　　要：《罪过》具有莫言文学的风格,也是中国当代小说的杰作。它有莫言小说魔幻叙事的基本特点,也呈现出20世纪80年代莫言先锋探索的文学精神。作为一篇先锋小说,在文体方面,《罪过》既有寓言性、象征性,也具有写实性。它以儿童视角将现实的乡村体验转换成神话故事,使小说和世界都生起一种神秘的烟雾,从而打破了以往机械写实的狭窄套路,拓展了文学的审美空间。虽然以动荡年代为背景,作品却没有进行政治学思考,而是“向内”审视,聚焦于人性,在人性的黑洞里掘进、摸索。这种对人性的审视,又与鲁迅的文学存在着互文性。鲁迅笔下的“看客”“恶童”以及“人生如戏”的悲凉感也在《罪过》中出现。“Guilt”is a masterpiece of contemporary novel,which represents MO Yan literary style.It has the basic characteristics of MO Yan’s magical narrative,and also presents the spirit of his avant-garde literature exploration in the 1980s.As an avant-garde novel,“Guilt”is allegorical,symbolic and realistic in terms of style.It transforms the real rural experience into a myth story from the perspective of children that produces a mysterious mist wreaths both the novel and the world,thus breaking the narrow routine of mechanical realism and expanding the aesthetic space of literature.Although the novel is set in turbulent times,it does not engage in political thinking,but rather looks“inward”,focusing on human nature,digging into the black hole of human nature and exploring it.This examination of human nature has intertextuality with LU Xun whose“spectators”,“evil children”and sadness of“life as play”also appear in“Guilt”.

关 键 词：莫言 魔幻叙事 鲁迅 互文性 

分 类 号：I207.42[文学—中国文学]