摘要
莫言有意借第一人称限知视角奠定小说“纪实性”主调,又于元叙述穿插中打破真实,故事内外审视下的多重自我构成了叙事目光的流变,意即逐渐成熟的对虚实界限的自省。而故人返乡、故事继续的回环叙事和时空跳跃下的对比叙事,于场景空间中进一步打破现实与虚拟的边界。短篇小说《晚熟的人》对以往“魔幻现实主义”风格作出新创,探讨时代“常与变”下人存在的可能性,于虚实变幻的审美艺术中焕发强烈的时代反思与自我解剖的力量。
Mo Yan intentionally employs the first-person limited perspective to present"realism"and breaks the reality in the meta-narrative.The multiple selves examined inside and outside the story constitute the change of the narrative vision,that is,the gradually mature self-examination of the boundary between the reality and the fabrication.The return of the old friend,the circular storytelling and the contrast narrative under the time-space changing further break the boundary between the reality and the fabrication in the scene space.The Late Bloomer makes a new creation on the previous"magic realism"style,attempts to explore the possibility of the human existence in the changing time,and displays a strong power of era reflection and self-dissection in the changing aesthetic art.
作者
米文文
MI Wenwen(School of Literature,Hunan Normal University,Changsha 410000,China)
出处
《西安航空学院学报》
2023年第6期74-81,共8页
Journal of Xi’an Aeronautical Institute
关键词
《晚熟的人》
叙事视角
时空交错
虚实艺术
The Late Bloomer
narrative perspective
time and space interlace
the art of reality and fabrication
作者简介
米文文(2001-),女,湖南龙山人,硕士研究生,主要从事文学美学研究。
