论文部分内容阅读
莫言在小说《蛙》中尝试跨不同艺术形式文本的创作思路,巧妙地利用小说与话剧两种不同文学艺术形式的特性,在小说文本叙述之外于最后的章节中加入九幕话剧《蛙》,从而造成小说文本与话剧文本间的互文性呼应。通过这一跨文本的互文书写,小说在同一故事材料的基础上形成了两种互相指涉的“真实”立场,并在两者的互照下形成一个完整的叙述体系。这一体系不仅使小说在内容与形式上达到互融与创新的平衡,更对小说起到了深化内涵与诗性提升的作用。
In his novel “Rana”, Mo Yan tried his creative thinking across different forms of art texts and skillfully used the characteristics of two different forms of literary and art forms, such as fiction and drama, to add nine scenes of drama “Frog” to the final chapters, , Thus causing the intertextuality echo between novel text and drama text. Through this trans-text intertextual writing, the novel forms two “real” positions of mutual referencing on the basis of the same story material, and forms a complete narrative system under the mutual cooperation of the two. This system not only makes the novel achieve the balance of mutual melting and innovation in content and form, but also plays a role in deepening the connotation and improving the poetic quality of the novel.