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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2014年12月第20卷第6期
   
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文章编号:1672-3104(2014)06-0252-08
 
从“小把戏”到“大结构”——论莫言小说叙事艺术的转向
 
张相宽
 
(山东大学文学与新闻传播学院,山东济南,250100)
 
摘  要: 自觉的文体意识和天马行空的想象力使莫言的创作充满变数。30余年来,他小说的叙事艺术经历了从“玩小把戏”到“玩大结构”的转向。莫言曾经热衷于形式实验,他用令人眼花缭乱的“小把戏”宣告了自己创作的先锋性和现代性,但随着对形式实验的反思,莫言之后的创作自觉地向民间回归,向古典小说致敬,他以“玩大结构”的决然态度宣告了自己创作的本土性和传统性。但在从“小把戏”向“大结构”的转向中,人们不难发现他小说中的“大结构”包含很多“小把戏”,可以说,莫言在向传统回归的过程中一直保持着作品的先锋性。
 
关键词: 莫言;叙事;转向;小把戏;大结构
 
 
From “little tricks” to “large structures”——On the debates of the turning of the narrative art of Mo Yan’s novels
 
ZHANG Xiangkuan
 
(School of Literature and Journalism, Shandong University, Jinan 250100, China)
 
Abstract: Conscious stylistic awareness and unrestrained imagination of Mo Yan have made the highly variable creation of his writings, and his fiction narrative art has gone from “playing tricks” to “planning large structures” steering for 30 years. Mo Yan was keen to form experiment, using a dazzling “trick” to declare his creative and pioneering modernity, however, as the reflection of the form experiment, Mo yan has consciously returned to the folk and the classic novels, and his attitude to “playing big structures” has decisively proclaimed his indigenous and traditional writing style. But from the “little tricks” to the “big structures”, people can easily find that the “big structures” includes a lot of “tricks”. In conclusion, in the process of returning to the traditional Mo Yan has maintained a pioneering work.
 
Key words: Mo Yan; Narrative; Steering; Trick; Large structure
 
 
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