性别视域下的母亲史诗——《丰乳肥臀》与《好人宋没用》的并置阅读

Mother’s Epic in the Perspective of Gender——Juxtaposition Reading of Big Breasts and Wide Hips and Song Meiyong: A Good Person

莫言的《丰乳肥臀》和任晓雯的《好人宋没用》皆将中国19世纪的重大历史事件列为背景,以母亲形象作为叙事中心,书写大家庭的兴衰与人物命运。但这两位不同性别的作家笔下的母亲史诗存在着明显的差异:对于母性的理解,男性作家莫言认同的是父权制度下的“为母之道”,而女性作家任晓雯更偏重于从女性主体角度进行发掘;在叙事伦理上,莫言广泛采用男性的叙述声音与叙述角度,将塑造母亲形象作为其完成消解正史目的的一种手段,而任晓雯运用全知视角兼顾聚焦母亲心理活动,完成伦理判断。究其原因,两性作家在两性文化影响下所站的相异立场、性别话语的不同诠释,以及代际产生的差异性是造成两部作品呈现“同调异曲”现象的内在因素。

Both Big Breasts and Wide Hips and Song Meiyong:A Good Person take the important historical events of the 19th century in China as the background,and take the image of mother as the narrative center to write about the rise and fall of the big family and the fate of the characters.However,there are obvious differences in the epics of mother written by both sexes:in understanding maternity,Mo Yan as the male writer actually approves the “way of motherhood” under the patriarchal system,while Ren Xiaowen lays more emphasis on exploring from the perspective of female subject;in narrative ethics,Mo Yan extensively adopts male narrative voice and perspective,and regards the image of mother as one way to dissolve the official history,while Ren Xiaowen uses omniscient perspective to focus on mother’s psychological activities and complete ethical judgment.The internal factors that cause the differences in the same themeof the two worksare the different positions of the two genders and the different interpretations of the gender discourse affected by the gender cultural symptoms and the differences between generations.