乡土经验与世界文学——试论莫言与赫塔·米勒的文学创作的异同

Rural Experiences and Worldliterature: Commoness and Differences in the Works of Mo Yan and Herta Müller

同为诺贝尔文学奖获得者的中国作家莫言和德国作家赫塔.米勒都以自己的乡土经验为主要创作源泉,大力开掘各自故土负载的历史创伤和苦难记忆,借助彼此迥异而强度相似的美学想象,构建出了与现实世界若即若离的文学空间。他们的乡土叙事无疑包含了一定的政治批判,但其魅力所在却是对残酷历史境遇中人类存在体验的特殊美学表达,其中折射出了文学自身对现实压迫和精神困境的反抗力量。他们书写的乡土图景从内容到形式都瓦解了19、20世纪的浪漫想象和革命叙事,对立于以城市诗学为表征的现代文明及现代美学,表现出对文明与野蛮交错的复杂人性的重新探问。在丰富多元的世界文学中,两位作家恰恰依仗经他们美学改造而意蕴深厚的乡土经验占有了特定的地位。

Although the two winners of the Nobelprize for literature, Mo Yan and Herta MUller seem to be totally contrasting authors, but their works show some kind of significant commonness： Both of them create a literary space of the countryside out of their rural experiences in the childhood. This article argues that this commonness refers to their historical critical reflexion about the power struckture of an authoritative state and that they share a strong tendence to expose the sufferings of their people by choosing an individual surrealistical style which may make them quite different from each other. And the article tries to check this issue in the relationship with the unique context of the literary tradition in Germany and China in the twentieth Century. With this as background, one can see how both authors break the romantic and revolutionary narration of the land and reach a new level of the rural literature after G. Mdrquez and W.C. Faulkner as a special form of worldliterature.