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索罗金为俄罗斯后现代主义作家,莫言则是中国具有强烈反叛意识的作家,二者在创作过程中都具有“审丑”及“狂欢化”写作的特点。在“审美”为主流的文坛,“审丑”无疑是对文学及社会的一种解构和颠覆,以他们二者为代表的“审丑”文学的出现,也使得文学在“单一审美”的固化结构中,找寻到新的出路和新的发展方向。但二者的不同之处亦在于:莫言在解构中建构,而索罗金则在颠覆中狂欢。
Sorokin is a writer of Russian postmodernism and Mo Yan is a writer with a strong sense of rebellion in China. Both of them are characterized by “ugly” and “carnivalized” writing in the process of creation. In the literary world where “aesthetic ” is the mainstream, “ugly” is undoubtedly a kind of deconstruction and subversion to literature and society, and the appearance of “ugly” literature represented by both of them also makes literature In the “single aesthetic” curing structure, find a new way out and a new direction of development. But the difference between the two lies in that Mo Yan constructs in deconstruction, while Sorokin revels in carnival.