西方视野下的莫言

Mo Yan Through Western Eyes

莫言以其独特的个人风格与审美原则,力图为中国文学在世界文学中寻找落脚点。葛浩文的译介增强了其在西方世界的影响力。《红高粱家族》的叙述具有史诗般的时间跨度,但却没遵循了时间的顺序,以呈现真实世界的连续性与复杂性,与进而颠覆了历史即真实这一概念,削弱读者对叙述者的完全信任,让读者参与到将历史变为传说的过程中来。《天堂蒜薹之歌》既展现了莫言对意识形态和改革运动的深刻见解,同时对人性的贪婪与堕落进行了刻画,却不乏希望。《酒国》喜剧风格明显,大量运用了自我指涉与戏仿的反讽手法,是对鲁迅"救救孩子"寓言的复杂化。莫言通过对文学创作手法的不断创新,提升了中国与世界文学的审美水准。

With his particular style and esthetical principles, and blessed with a particularly talented translator, Howard Gol- dblatt, Mo Yan steps onto the larger stage of world literature as a world-class writer. RedSorghum has an epic sweep, but vi- olates chronologic narrative to mirror the continuity and complexity of the real world, which gradually undermines the no- tion of that history as truth and the trust readers once placed in their taletellers. Such narrative leads readers to put story to- gether for themselves. The Garlic Ballads demonstrates Mo Yan＇s insights into ideology and reformations and portray of hu- man avarice and corruption; The Republic of Wine shows that Mo Yan has moved beyond modernism into postmodemism, self-referentiality, and self-parody, and challenges Lu Xun＇s simplistic allegory. With his ever-changing narrative forms and techniques, Mo Yah elevates both Chinese and world literature.