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莫言创作于20世纪80年代中期至90年代后期的小说中,大量运用感觉化叙述,引起了批评界的关注和评论。洪子诚指出:“莫言的小说,表现了开放自己感觉的那种感性化风格……在描述中……有大量的感官意象奔涌而来……”[1]张闳认为“对感官经验的大肆铺张,几乎成为莫言小说叙述风格的标志”。综观近年来的相关研究,文学“内部”的研究取向较多,从文化视野中对感觉化叙述的源流梳理较少。本文试图在20世纪中国文学的视野中观照感觉化叙述特征,并结合我国传统与“当代”文化语境,分析其文学“外部”价值。
Mo Yan’s creation in the novel from the mid-1980s to the late 1990s made extensive use of sensationalized narratives, arousing the concern and criticism of critics. Hongzicheng pointed out: “Mo Yan’s novel expresses the sensual style of opening up his own feelings ... In the description ... there is a large number of sensory images rushing from ...” [1] Zhang Jian believes that “ ’S wantonly spread, almost become a symbol of Mo Yan’s novel style ”. Looking at the related researches in recent years, there are many research orientations in literature “inner ”, and there are fewer sources of sensory narration from the perspective of culture. This essay tries to analyze the characteristics of sensualization narration from the perspective of Chinese literature of the twentieth century and analyze the value of literature “external ” according to the tradition of our country and “contemporary ” cultural context.