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所谓对话,是源自人们的言语活动,指主体间的言语交流。随着现当代西方理论的发展,对话从人类社会交流的普遍现象上升为涉及哲学、美学、文学语言学的系统方法论,凭借其理论的观照在主体和文本、主体和主体、文本和文本之间产生深远影响。尤其是前苏联思想家巴赫金将“对话”视为人的存在本质,是一个核心的理论范畴。纵观莫言小说创作,可以明显地看到巴赫金对话理论对他的影响。本文运用巴赫金的对话理论,从人物与人物之间的大型对话、人物自身的微型对话、文本与文本之间的对话三方面来重新解读莫言的《蛙》。
The so-called dialogue, is derived from people’s speech activities, refers to the exchange of verbal communication between the main body. With the development of contemporary Western theories, dialogue rose from the universal phenomenon of human social exchanges to a systematic methodology involving philosophy, aesthetics and literary linguistics. By virtue of its theory, dialogues between subject and text, subject and subject, text and text have profound impact. In particular, the former Soviet thinker Bakhtin regarded “dialogue ” as the essence of human existence, which is a core theoretical category. Throughout Mo Yan’s novels, we can clearly see the impact of Bakhtin’s dialogue theory on him. This article uses Bakhtin ’s theory of dialogues to reinterpret the “frog” of Mo Yan in terms of the large - scale dialogue between characters and characters, the miniature dialogue of characters themselves and the dialogue between texts and texts.