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文艺理论研究

文艺理论研究 ›› 2013, Vol. 33 ›› Issue (1): 76-85.

• 现当代文论研究 • 上一篇    下一篇

莫言的两极——解读《丰乳肥臀》

赵勇   

  1. 北京师范大学文学院；北京师范大学文艺学研究中心
  • 出版日期:2013-01-25 发布日期:2013-02-20
  • 作者简介:赵勇，文学博士，现为北京师范大学文学院教授，文艺学研究中心专职研究员，主要从事文学理论与批评和大众文化理论批评的教学与研究。
  • 基金资助:


Mo Yan's Polarizations: An Interpretation of His Big Breasts and Wide Hips

Zhao Yong   

  1. School of Language and Literature, Beijing Normal University; Center for Literary Theory and Criticism, Beijing Normal University
  • Online:2013-01-25 Published:2013-02-20
  • About author:Zhao Yong, Ph.D., is a professor with the School of Language and Literature, a full-time Researcher of Center for Literary Theory and Criticism, Beijing Normal University. His research interests cover literary criticism theory and critical theories of popular culture.
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摘要： 在写作《丰乳肥臀》之前，莫言已形成了趋向两极的思维定势和情感定势。体现在题材的选取上，一者是对记忆历史的打捞，作品呈现出一种肯定性向力；一者是对现实历史的批判，作品呈现出一种否定性之维。而《丰乳肥臀》则是这种两极定势的合理延伸，从而也是对记忆历史的庄严重构和对现实历史的滑稽模仿。从人物设计上看，这部小说塑造了两类人物：英雄和小丑。前者是战争环境的产物，也是作者幻觉经验的结果；后者既被国家机器和意识形态打磨再造，也进一步被意象形态武装到牙齿。从美学风格上看，这部小说的两极趋向是崇高和滑稽（或荒诞）。前者的形成得益于象征性环境的营造与人物（尤其是人物之死）的同构关系，后者的出现则诞生于反讽性环境的建构以及人物与环境所构成的那种乖谬而尴尬的关系。通过这种两极图式，作者呈现了自己的审美（丑）观和价值观，但其核心依然是“美本位”而不是“丑本位”。

关键词: 《丰乳肥臀》, 记忆历史, 现实历史, 英雄, 小丑, 崇高, 滑稽与荒诞

Abstract: Before writing Big Breasts and Wide Hips, Mo Yan has already formed a fixed mode of polarized thinking and perception, and the mode is reflected in his choice of subject matter. One the hand, he dredges from memorized history and writes with a confirmative force; on the other hand, he criticizes the realistic history and writes with a negative attitude. Big Breasts and Wide Hips displays as the reasonable extension of both polarities and shows that it is both a grace deconstruction of the memorized history and a parody of the realistic history. The characters are designed to fall into two categories of heroes and clowns, with heroes being the product of both wartime environment and Mo Yan's illusory experience and clowns being both shaped by state machinery and ideology and armed to the teeth by imagology. From the perspective of aesthetic style, this novel demonstrates polar tendencies toward both sublimity and comicality (or absurdity). Sublimity is conceived by way of the co-configuration of symbolic setting and characterization, especially the deaths of the characters, while comicality originates from the construction of ironic environment and the awkward intractable relation between the characters and their circumstances. Through this polarized design, Mo Yan can convey his views on beauty (and ugliness) and values, with ugliness aestheticized into the scope of beauty.

Key words: Big Breasts and Wide Hips; memorized history, realistic history, heroes, clowns, sublimity, comicality and absurdity