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中国当代作家在叙事实验领域的作为可圈可点,尤其是格非,苏童,叶兆言,潘军这一批先锋作家在“先锋文学”领域的叙事实验,打开了中国现当代文学叙事手法革命化的变革。而本文重要集中于至今仍活跃于文坛的莫言与阿来两位作家在小说创作中叙事手法,叙事艺术的比较,找出存在于他们两位作家中的相通之处,比如对“魔幻”表现手法的借鉴和运用,对语言的把控所带来的对民族身份和乡土文化的认同等等。在两位作家各自的文学生成领域之中,本文试图把握是怎样的历史性造成了他们叙事的表现,他们在叙事之中又是怎样的表现了人民千百年来生活着的历史。本文将大致分为四个部分:第一部分是研究综述,主要论述选题的背景,研究现状,意义,方法,以及本文的创新之处;第二部分是全文中心部分的第一块,论述莫言与阿来两位作家对同一种表现方法:“魔幻现实”的运用,并立足于莫言的中国农村乡土叙事和阿来的藏族生存境况描写来阐述;第三部分是论述莫言和阿来在文学语言的把握上,是如何在语言层面上展现他们各自生存领域的图景的;第四部分讲述他们业已形成的叙事艺术,有着怎样的文化根源,以及这样的叙事艺术是如何推动各自所在文化圈层的发展的。
The contemporary Chinese writers have made remarkable achievements in the field of narrative experiment, especially the narrative experiments by such pioneer writers as Ge Fei, Su Tong, Ye Zhaoyan and Pan Jun in the field of “pioneer literature”, which opened up the narrative techniques of Chinese contemporary literature Revolutionary change. This article mainly focuses on the comparisons of narrative techniques and narrative arts between the two writers Mo Yan and Ah Lai, who are still active in the literary world, and find out the similarities existing between the two writers. For example, “The expression and use of performance techniques, the control of the language brought about by the national identity and local culture recognition and so on. In the field of literary creation of the two writers, this article attempts to grasp what kind of historicity has caused the performance of their narratives and how they represented the history of people's lives for thousands of years in the narrative. This article will be divided into four parts: The first part is a review of the research, mainly discussing the background, research status quo, significance, methods and innovation of this paper; The second part is the first part of the full text of the core part of the discussion Mo Yan And Ah Lai two writers on the same kind of performance method: ”Magic Reality " use, and based on Mo Yan's rural narratives in rural China and Arab to describe the living conditions of Tibet to elaborate; The third part is to discuss Mo Yan and Arab How to display their respective fields of existence in the language level in the grasp of the literary language? The fourth part tells about the cultural roots of their formed narrative art, and how such narrative art promotes the culture of their own The development of the circle.