论莫言小说的动物修辞

莫言荣获诺贝尔文学奖之后,国内外对莫言都有激烈的批评。李建军是最激烈的批评者之一。本期笔谈中张志忠的文章就李建军对莫言作品的批评进行了概括并做出了较为深入的反批评。张文认为李文中存在自相矛盾的破绽,而李文所提出的文化领域中的"阴谋论"更缺乏充分正当的理据,因而是荒谬的,并且还表露了部分国人心理中依然存在着狭隘的"怨恨心态"。张文还从正面阐述了莫言作品讲述中国故事和农民英雄传奇的积极意义,并认为在全球化语境下,我们应以坦然和开放的心态与世界展开建设性的对话交流。而郭宏雷的文章则抓住了莫言小说中独特但也容易造成读者意见分歧的另一个特色,即大量的动物修辞运用。作者认为莫言是当代写动物最多的小说家,而动物与人之间的关系,构成了莫言小说人性探究的深层背景。在莫言小说中,动物是常规性修辞载体,也是独特的话语符号和修辞认知的手段。在继承古典审美传统、接受外来影响的基础上,莫言不断探索创新,极大丰富了小说中动物的修辞功能。动物形象的大量涌现,动物感觉、动物意识、动物思维的全面渗透,使莫言小说在语言、结构和文体方面形成了极为特殊的修辞风貌和美学品质。本期笔谈希望引起当代文学研究领域的其他学者注意,并期待学者就相关问题发出自己的不同声音。

After winning the Nobel Prize in Literature, there was strict criticism on Mo Yan's works at home and abroad. And Li Jianjun is one of the strictest critics. Zhang Zhizhong concludes Li Jianjun's criticism on Mo Yan's works and makes relatively in-depth anti-criticism hereupon in his paper of this issue. Zhang Zhizhong believes that there are self-contradictory weak points on the paper of Li Jianjun, and that there are not enough and sound reasons and evidences for Li to support the "conspiracy theory" in literary field he raises. Therefore, Li's opinions are absurd, reflecting that some Chinese still have "the attitude of hate" in their heart, which is narrow. In addition, Zhang illustrates the positive meanings of Mo Yan's works to tell Chinese story and legends of peasant hero, holding the view that we should make constructive dialogue and communication with world in a calm and open way under the globalization context. Besides, Guo Honglei's paper focuses on another feature of the novel of Mo Yan, which is unique but easy to cause disagreements among readers, applying a lot of rhetoric of animal. The author believes that Mo Yan is the modern novelist who likes to write about animals most, compared with his peers. The relationship between animal and people constitutes the profound background of studying humanity in his novels. In the novel of Mo Yan, animal is a regular carrier of rhetoric, a unique linguistic sign and a method of rhetoric cognition. Mo Yan constantly makes explorations and innovations on the basis of learning classical aesthetic tradition and absorbing foreign ideas, greatly enriching the rhetoric function of animal in novels. Mo Yan's novels formed extremely unique rhetoric style and aesthetic quality on language, structure and style, due to the large amount of the emergence of animal images, and the overall spread of the feeling, consciousness and thought of animal. This pen conversation aims at drawing the attention of other scholars studying on modern literary and expecting their different opinions on relevant issues.