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莫言的《挂像》以“扑灰年画”这一高密的民间艺术为引线,向我们展示了文革时期的发生在高密东北乡的一场“革命”闹剧。小说采用独特的儿童视角,从限知和全知相结合“我”的角度来叙述这一发生在过去与“我父亲”相关的故事;并借助挂像、革命、传说等文化符号和它们之间的关系,来反映民间话语和政治话语之间的矛盾和冲突。而这种冲突的过程和结果,向我们展示了革命的荒谬性。
As a leading figure, Mo Yan’s “Hanging Like” draws on the dense folk art of “Painting New Year with Greed” to show us a “revolutionary” farce that took place in the northeast of Gaomi during the Cultural Revolution. The novel adopts a unique perspective of children and narrates the story that happened in the past from “My Father” from the perspective of combining “limited knowledge” and “omniscient knowledge.” With the help of cultural symbols And their relationship to reflect the contradictions and conflicts between folk discourse and political discourse. The course and result of such conflicts show us the absurdity of the revolution.