宠儿与叛徒:阎连科的从现实主义到“神实主义”之路

Beloved or Traitors: A Study of Yan Lianke's Magical Realism Derived from the Realism

阎连科在创作初期坚持现实主义创作方法,作品也都是现实主义旗帜下优秀的作品。他并不局限于此,慎重地思考怎样突破现实主义的局限,打破现实主义的樊笼。他与现实的关系越来越紧张,与现实主义的关系也越来越紧张,开始怀疑所谓的"现实主义"。从《日光流年》开始,阎连科便渐渐地远离现实主义,直至最后的"背叛",走向"神实主义"之路。阎连科在《发现小说》文学随笔中明确提出"神实主义"的概念,阐释了他近期创作所坚持的文学理论。"神实主义"就是在创作中摒弃固有生活的表面逻辑关系,去探求一种被掩盖的真实,内部的真实。"神实主义"与现实的联系更多的是仰仗于人的灵魂、精神和创作者在现实基础上的特殊臆想。在日常生活与社会现实土壤上的想象、寓言、神话、传说、梦境、幻想、魔变、移植等,都是"神实主义"通向真实和现实的手法和渠道。

Insisting on realistic creation in his early days of writing, Yan Lianke produces plenty of fine works of re- alism. Moreover, he begins to think carefully about how to break the limits and confinement of realism, because he has a disagreement with the reality and even doubted what he calls ＂realism＂. Beginning with the novel of Sunshine and Fleeting Time, Yan Lianke gradually stays away from the realism before he finally betrays it to head for the magical realism. Explicitly proposing the concept of magical realism in his Essays of Novel Discovery, he states clearly the literature theory that he holds on in his recent creations. What he calls the magical realism is to get rid of the inherent logic relation on the life surface and explore a concealed reality or an intrinsic reality in literature creation. He believes that the magical realism is related with the reality depending on man＇ s soul and spirit and writer＇ s unusual imagination of reality. The imagination, fables, myths, legends, dreams, fantasies, demons, transplants, etc, rooted on the soil of daily life and social reality are the ways that the magical realism creates and surpasses the reality.