作为莫言小说艺术内核的民间
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摘要
中国小说自诞生之日起就与民间有着不可分割的联系,作为文学及美学范畴的民间具有底层性、驳杂性、包容性,在莫言小说艺术价值生成中起着决定性作用。莫言小说中的民间社会呈现出浓厚的狂欢化以及魔幻色彩,民间大众在野性思维的指引下消解了主流文化形态的规约,原始自由的生命力得到了较大程度的张扬。民间之所以能够成为莫言小说艺术的内核,与莫言的乡村生活经验、乡愁乌托邦召唤以及新时期以来的社会文化思潮密不可分。莫言对民间的重视带给读者独特的艺术节奏感,促进了继承与发展走向民间传统、反抗西方文化霸权,以及从文化现象上对"边缘境域"进行"中心化凸显"。
Chinese novel has been inextricably linked with the grassroots community since its birth. As a literary and aesthetic category, the grassroots community distinguished by bottom class, complexity and inclusiveness plays a decisive role in the generation of the artistic value of Mo Yan's novels. The folk society in Mo Yan' s novels presents a strong carnival and magic color. Directed by the savage thinking, the folk masses dismantle the conventions of the mainstream cultural forms to display the vitality of the original freedom. The reason why the folk becomes the artistic core of Mo Yan' s novels is closely related to his rural life experience, the calling of nostalgic Utopia and social and cultural trends in the New Period. Mo Man' s emphasis on the folk brings the readers a special sense of artistic rhythm, promotes the inheritance and development of folk tradition, resists the Western cultural hegemony, and "highlights the periphery" from the perspective of cultural phenomenon.
Chinese novel has been inextricably linked with the grassroots community since its birth. As a literary and aesthetic category, the grassroots community distinguished by bottom class, complexity and inclusiveness plays a decisive role in the generation of the artistic value of Mo Yan's novels. The folk society in Mo Yan' s novels presents a strong carnival and magic color. Directed by the savage thinking, the folk masses dismantle the conventions of the mainstream cultural forms to display the vitality of the original freedom. The reason why the folk becomes the artistic core of Mo Yan' s novels is closely related to his rural life experience, the calling of nostalgic Utopia and social and cultural trends in the New Period. Mo Man' s emphasis on the folk brings the readers a special sense of artistic rhythm, promotes the inheritance and development of folk tradition, resists the Western cultural hegemony, and "highlights the periphery" from the perspective of cultural phenomenon.
引文
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[20]王杰.乡愁乌托邦:乌托邦的中国形式及其审美表达[J].探索与争鸣,2016(11):4-10.
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[24]张进.活态文化与物性的诗学[M].北京:人民出版社,2014:1.
[25]张祥龙.现象学导论七讲:从原著阐发原意[M].北京:中国人民大学出版社,2010:54.
[26]莫言.红高粱家族[M].北京:作家出版社,2012:3.
[2]吉尔兹.地方性知识:阐释人类学论文集[M].王海龙,张家瑄,译.北京:中央编译出版社,2000:70.
[3]墨子.非命上[M].北京:中华书局,1993:400.
[4]周明全.中国小说的民间属性(上)[J].小说评论,2018(6):103-113.
[5]司马迁.史记:孝武本纪[M].北京:中华书局,2014:472.
[6]冯梦龙.叙山歌[M]//魏同贤,主编.冯梦龙全集:第十册.南京:凤凰出版社,2007:487.
[7]张清华.民间理念的流变与当代文学中的三种民间美学形态[J].文艺研究,2002(2):53-64.
[8]陈思和.民间的浮沉——对抗战到文革文学史的一个尝试性解释[J].上海文学,1994(1):68-80.
[9]姚晓雷.从发现民间到消费民间——兼论当前文学的一种理论之殇[J].江西社会科学,2008(11):92-97.
[10]巴赫金.拉伯雷的创作与中世纪和文艺复兴时期的民间文化[M].钱中文,译.石家庄:河北教育出版社,2009:5-6.
[11]庄子.外物[M].方勇,译注.北京:中华书局,2010:459.
[12]班固.艺文志[M]//汉书:第六册.颜师古,注.北京:中华书局,1962:1745.
[13]本雅明.迎向灵光消逝的年代:机械复制时代的艺术作品[M].许绮玲,林志明,译.桂林:广西师范大学出版社,2008:65.
[14]夏忠宪.巴赫金狂欢诗学理论[J].北京师范大学学报:社会科学版,1994(5):74-82.
[15]梁一儒,宫承波.民族审美心理学[M].北京:中央民族大学出版社,2003:44.
[16]傅修延.试论叙述节奏[J].江西社会科学,1991(1):76-81.
[17]莫言.用耳朵阅读[M].北京:作家出版社,2012:58.
[18]恩格斯.致玛·哈克奈斯[M]//马克思恩格斯选集:第四卷.北京:人民出版社,2012:590-591.
[19]莫言.碎语文学[M].北京:作家出版社,2012:27.
[20]王杰.乡愁乌托邦:乌托邦的中国形式及其审美表达[J].探索与争鸣,2016(11):4-10.
[21]江宁康.世界文学:经典与超民族认同[J].中国比较文学,2011(2):11-19.
[22]本尼迪克特·安德森.想象的共同体:民族主义的起源与散布[M].吴叡人,译.上海:上海人民出版社,2011:11.
[23]孟昭毅.从民族文学走向世界文学[J].中国比较文学,2012(4):22-29.
[24]张进.活态文化与物性的诗学[M].北京:人民出版社,2014:1.
[25]张祥龙.现象学导论七讲:从原著阐发原意[M].北京:中国人民大学出版社,2010:54.
[26]莫言.红高粱家族[M].北京:作家出版社,2012:3.