莫言与鲁迅:批判现实主义的承传与变异
|
摘要
莫言与鲁迅现实主义小说文本的主题意蕴及价值体系共同指向文化传统痼疾的批判与反思。然而,莫言却以迥异于鲁迅的姿态建置批判现实主义:在批判的精神内核上莫言直指欲,而鲁迅直指愚;在功能指向上莫言针对工业文明,而鲁迅针对封建文化传统;在形式及色调上莫言倾向于狂欢恣肆,鲁迅则倾向于冷暗沉悲;在视角上莫言侧重于立足民间百姓立场以仰视,鲁迅则立足心理医生式的知识分子立场以俯视。据此可以洞察莫言对鲁迅传统中的批判现实主义因子在传承过程中路径的异化与逆反,不过此"异"之表象并非与鲁迅传统相悖,而是莫言在承袭其批判渊源和精神谱系的同时对批判现实主义的新尝试,同时也是鲁迅乃至"五四"一代思想先驱者批判现实主义精神在当下的回响。
The themes and value systems of Mo Yan's and Lu Xun's realistic novels commonly point to the criticism and reflection of chronic illness in the cultural tradition. However,Mo Yan builds up the critical realism with an attitude greatly different from Lu Xun 's. In the core of the critical spirit,Mo Yan directly points to the desire while Lu Xun points to the fool. In the direction of critical function,Mo Yan points to the industrial civilization while Lu Xun aims at the feudal cultural tradition. In the critical form and tone,Mo Yan tends to show informalness while Lu Xun tends to show coldness and sadness. In the critical perspective,Mo Yan focuses on the position of common people for looking up while Lu Xun focuses on the position of psychologist-like intellectuals for overlooking. Therefore,it can be seen that Mo Yan alienates and reverses the path in the process of inheriting the critical realism factors in Lu Xun's tradition. However,the presentation of"alienation"is not contrary to Lu Xun's tradition. The fact is that Mo Yan makes a new attempt for the critical realism while he inherits the critical origin and spiritual pedigree,and that there echoes the spirit of critical realism of Lu Xun and the other pioneering thinkers in the May Fourth Movement at present.
The themes and value systems of Mo Yan's and Lu Xun's realistic novels commonly point to the criticism and reflection of chronic illness in the cultural tradition. However,Mo Yan builds up the critical realism with an attitude greatly different from Lu Xun 's. In the core of the critical spirit,Mo Yan directly points to the desire while Lu Xun points to the fool. In the direction of critical function,Mo Yan points to the industrial civilization while Lu Xun aims at the feudal cultural tradition. In the critical form and tone,Mo Yan tends to show informalness while Lu Xun tends to show coldness and sadness. In the critical perspective,Mo Yan focuses on the position of common people for looking up while Lu Xun focuses on the position of psychologist-like intellectuals for overlooking. Therefore,it can be seen that Mo Yan alienates and reverses the path in the process of inheriting the critical realism factors in Lu Xun's tradition. However,the presentation of"alienation"is not contrary to Lu Xun's tradition. The fact is that Mo Yan makes a new attempt for the critical realism while he inherits the critical origin and spiritual pedigree,and that there echoes the spirit of critical realism of Lu Xun and the other pioneering thinkers in the May Fourth Movement at present.
引文
[1]孙郁.莫言:与鲁迅相逢的歌者[J].当代作家评论,2006(4).
[2]王海燕.论鲁迅与莫言鬼魅叙事的不同形态[J].武汉理工大学学报(社会科学版),2015(3).
[3]藤井省三.莫言与鲁迅之间的归乡故事系谱——以托尔斯泰《安娜·卡列尼娜》为辅助线来研究[J].小说评论,2015(3).
[4]张立群,等.论莫言对鲁迅传统的继承与创新[J].河北科技大学学报(社会科学版),2015(4).
[5]姜玉琴.启蒙主义传统与“食色性也者”传统——论莫言与鲁迅创作思想之不同[J].中国文学研究,2015(1).
[6]杨超高.鲁迅与莫言文学创作思想比较研究[J].山东理工大学学报(社会科学版),2017(3).
[7]莫言.酒国[M].北京:作家出版社,2012.
[8]鲁迅.祝福[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[9]鲁迅.示众[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[10]沃尔夫莱.批评关键词——文学与文化理论[M].陈永国,译.北京:北京大学出版社,2015.
[11]王德威.狂言流言,巫言莫言[J].江苏大学学报(社会科学版),2009(3).
[12] Susan S. Literature is Freedom——The Friedenspreis Acceptance Speech[M]. Berkeley:Small Press Distribution,2004.
[13]莫言.超越故乡[M]∥我的高密.北京:中国青年出版社,2011.
[14]本雅明.启迪[M].张旭东,王斑,译.北京:三联书店,2008.
[15]鲁迅.过客[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[16]鲁迅.娜拉走后怎样[M]∥鲁迅全集(第1卷).北京:人民文学出版社,2005.
[17]张志忠.莫言论[M].北京:北京联合出版公司,2012.
[18]莫言.有追求才有特色[J].中国作家,1985(2).
[19]莫言.故乡·梦幻·传说·现实[M]∥莫言对话新录.北京:文化艺术出版社,2010.
[20]莫言.新版后记[M]∥天堂蒜薹之歌.上海:上海文艺出版社,2012.
[21]鲁迅.野草·墓碣文[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[22]鲁迅.南腔北调集·我怎么做起小说来[M]∥鲁迅全集(第4卷).北京:人民文学出版社,2005.
[23]莫言.代序言[M]∥天堂蒜薹之歌.上海:上海文艺出版社,2012.
[24]袁盛勇.当代鲁迅现象研究[M].北京:人民文学出版社,2018.
[2]王海燕.论鲁迅与莫言鬼魅叙事的不同形态[J].武汉理工大学学报(社会科学版),2015(3).
[3]藤井省三.莫言与鲁迅之间的归乡故事系谱——以托尔斯泰《安娜·卡列尼娜》为辅助线来研究[J].小说评论,2015(3).
[4]张立群,等.论莫言对鲁迅传统的继承与创新[J].河北科技大学学报(社会科学版),2015(4).
[5]姜玉琴.启蒙主义传统与“食色性也者”传统——论莫言与鲁迅创作思想之不同[J].中国文学研究,2015(1).
[6]杨超高.鲁迅与莫言文学创作思想比较研究[J].山东理工大学学报(社会科学版),2017(3).
[7]莫言.酒国[M].北京:作家出版社,2012.
[8]鲁迅.祝福[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[9]鲁迅.示众[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[10]沃尔夫莱.批评关键词——文学与文化理论[M].陈永国,译.北京:北京大学出版社,2015.
[11]王德威.狂言流言,巫言莫言[J].江苏大学学报(社会科学版),2009(3).
[12] Susan S. Literature is Freedom——The Friedenspreis Acceptance Speech[M]. Berkeley:Small Press Distribution,2004.
[13]莫言.超越故乡[M]∥我的高密.北京:中国青年出版社,2011.
[14]本雅明.启迪[M].张旭东,王斑,译.北京:三联书店,2008.
[15]鲁迅.过客[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[16]鲁迅.娜拉走后怎样[M]∥鲁迅全集(第1卷).北京:人民文学出版社,2005.
[17]张志忠.莫言论[M].北京:北京联合出版公司,2012.
[18]莫言.有追求才有特色[J].中国作家,1985(2).
[19]莫言.故乡·梦幻·传说·现实[M]∥莫言对话新录.北京:文化艺术出版社,2010.
[20]莫言.新版后记[M]∥天堂蒜薹之歌.上海:上海文艺出版社,2012.
[21]鲁迅.野草·墓碣文[M]∥鲁迅全集(第2卷).北京:人民文学出版社,2005.
[22]鲁迅.南腔北调集·我怎么做起小说来[M]∥鲁迅全集(第4卷).北京:人民文学出版社,2005.
[23]莫言.代序言[M]∥天堂蒜薹之歌.上海:上海文艺出版社,2012.
[24]袁盛勇.当代鲁迅现象研究[M].北京:人民文学出版社,2018.