摘要
莫言的小说展示了20世纪中国人所能遭受的苦难。为了充分表现苦难,莫言在叙事策略和叙事技巧的选择上独辟蹊径,以声音作为独特的叙述媒介,以映衬作为独特的叙述手法,以及对"叙述者"的灵活运用和叙述视角的灵活转换。他既继承了中国传统小说的艺术手法,又吸收了西方后现代主义小说的艺术技巧。莫言在苦难叙事中展现了时间与空间的特殊关系,创造了独特的时空体小说,在完整的时空体中展示了苦难的深度和广度,艺术效果上追求对社会历史的讽喻与否定。
Mo Yan’s novels depict the suffering of the Chinese people in the 20th century.To fully picture the suffering,Mo Yan has tried a new way in the choice of narrative strategies and narrative techniques through the use of sounds as a unique narrative medium,the antithesis as a special narrative mode as well as the flexible utilization of ＂narrators＂and the nimble conversion of the narrative perspectives,which is both an inheritance of artistic techniques of traditional Chinese novels and an adoption of the artistry of Western post-modern novels.In his narration of sufferings,Mo Yan has exhibited the special relationship between time and space and has initiated the distinct temporal and spatial novel,thereby having demonstrated the depth and breadth of sufferings in the framework of entire time-and-space novels and pursued the allegory and denial of society and history in terms of artistic effects.
出处
《海南师范大学学报（社会科学版）》
2013年第6期49-53,共5页
Journal of Hainan Normal University(Social Sciences)
基金
国家社科基金项目:"‘50-70年代文学’与‘新时期文学’之关联研究"(编号:08BZW057)
关键词
莫言
苦难叙事
时空体
Mo Yan
suffering narrative
time and space framework
作者简介
颜水生（1980-），男，湖南衡阳人，文学博士，贵州民族大学文学院副教授，主要从事中国现当代文学研究。
