广西师范大学硕士学位论文论莫言小说的狂欢化叙事姓名：张开艳申请学位级别：硕士专业：中国现当代文学指导教师：黄伟林20060401i论莫言小说的狂欢化叙事论莫言小说的狂欢化叙事研究生：张开艳指导老师：黄伟林专业：中国现当代文学研究方向：当代文学年级：2003 级中 文 摘 要勿庸置疑，莫言是中国当代文坛最具创新个性的作家之一在 20 多年的创作生涯中，他自觉秉承自我超越的创新精神， 创作出了很多具有独异风格的作品， 为当代文坛作出了巨大的贡献 《红高粱》 、 《红蝗》 、 《檀香刑》等作品以独特的审美原则挑战着读者的阅读经验，给莫言带来了巨大的声誉， 同时也引起了众多评论家的争议 他与生俱来的叛逆精神和天马行空的狂欢个性使他不断进行文本形式的探索和内容的创新， 他颠覆传统的狂欢化思维反映在创作上使他的作品具有结构的开放性和意义的丰富性 我们引入狂欢理论对他的作品进行阐释，拓展了莫言研究的新角度，挖掘出了其他批评形式所未展现出的价值和意义在显在层面上， 莫言的小说具有巴赫金所分析的狂欢化文学的各种特征， 各种类型的狂欢节及其变体、狂欢式场景、狂欢化人物形象、狂欢化的语言风格等各种狂欢要素在他的作品中都有所体现，但莫言式的狂欢与巴赫金意义上的狂欢既有相似性，也有一定区别。
文章第一部分从张扬生命力、 展现狂欢精神、 发掘民间文化等角度对粗鄙化描写、 怪诞肉体形象、杂语风格等方面进行理论阐释，从两种意义上的狂欢比较中发掘出莫言小说的文化意义莫言的狂欢化风格不仅仅体现在狂欢要素的显在特征上， 更重要的是作者的狂欢思维对作品的题材、 体裁、 创作方法、 艺术个性等方面的影响 文章的第二部分从狂欢化思维方式、体裁诗学的拓展、 狂欢化的艺术原则等方面对他小说中颠覆和反叛的狂欢精神进行分析， 把莫言在文本中对政治意识形态的批判、 对传统写作规范和艺术审美原则的颠覆、 对封建伦理道德秩序的反叛、 对工业文明的抵抗等所产生的意义展现出来， 从而凸现出莫言自觉创新的叛逆式写作对当代文坛的贡献 文章同时分析了莫言小说中的复调叙事在结构探索上的成就以及复调叙事对文本表达的意义 在艺术原则上， 莫言采用讽刺性摹拟的方式对现实生活中的高调、丑恶现象进行戏仿，使文本具有意义上的多元性和丰富性批评家们在以往研究中常常只分析了莫言小说狂欢化风格的某些方面， 对形成其作品狂欢化风格的各种原因并没有深入细致的分析 文章第三部分从形成个人创作风格的各种因素的整合与取舍角度对形成莫言狂欢化风格的原因进行分析。
山东的儒家正统文化和志怪文化的集体积淀在无意识中对莫言的心理和思维具有塑形作用 莫言的童年生活、 爷爷和大爷爷的传奇经历、时代氛围和个体生存环境等为他的文学创作储备了丰厚的资源，80 年代的社会转型和思想解放的潮流为他提供了自由宽松的社会环境和心理认同的对象 文章通过多种因素的整合分析探讨莫言形成狂欢风格的文化机制和个人心理机制莫言的狂欢化写作在当代文学史上具有重要文化诗学价值， 结语分析了莫言的创作对当代文学的意义，并倡导作家应该多学习莫言“胡闹”的狂欢精神关键词关键词：狂欢化复调叙事生命精神文化诗学iiAbstract There is no need to doubt that, Mo Yan is one of the most creative writers in the contemporary literary world in China. During his more than 20 years’career as a writer, MoYan has always been holding the creative spirit to excel himself, and has produced many literal works of distinctive style, making a great contribution to the contemporary literary world. Such works as Red Sorghum, Red Locust, Sandalwood Punishment present a challenge to the reading experience of the readers with a unique aesthetic principle and earning Mo Yan a reputation while arousing controversy among a lot of critics. His rebellious spirit and free carnival thinking of subverting convention is reflected in the open structure and rich meaning of his works. The carnival theory, which in introduced to interpret his works, would develop a new perspective in the study of Mo Yan, and extract the value as well as significance which are not presented by the other forms of criticisms. Obviously, Mo Yan’ s novels have all the characters of carnival literature which are analyzed by Bakhtin. Varied carnival factors, including all kinds of carnivals and their variants, carnival figures , carnival linguistic style and so on ,are all displayed in his words; however there are both similarities and differences between Mo Yan’ s carnival and Bakhtins’ . The first section of the paper theoretically interprets the vulgar description, uncanny body images, and the style of mixed language by advocating life- force, displaying carnival spirit, and exploiting folk culture .so digging out the cultural significance in Mo Yan’ s novels by the comparison between the two carnivals. Mo Yan’ s carnival style is not only reflected in these overt characters as the carnival factors, but more important in the influence on the works’subject, form mode of writing, artistic individuality , and so on. The second section of the paper makes an analysis of the subversive and rebellious carnival spirit from the aspects like the carnival thinking, the extension of subject poetics, and the carnival artistic principle, to show the meanings produced by Mo Yan’ s criticism on the ideology in the texts, subversion of conventional writing norms and aesthetic principles, rebellion against feudal moral principles and ethics, and resistance against the industrial civilization, so as to highlight his contribution to the contemporary literary world by Mo Yan’ s rebellious writings. Meanwhile the paper gives an analysis of the achievements of Mo Yan’ s polyphonic narrative in the structural trial and is significance on the text expression. In the artistic principle, Mo Yan uses a mode of modeling jokingly on the lofty and ugly phenomena by the way of satirical imitation, bringing pluralistic and rich meaning to the texts. The critics in the former studies usually analyzes only some aspects of the carnival style in Mo Yan’ s novels but haven’ t made a thorough and careful study of varied reasons of resulting into Mo Yan’ s carnival style, so the third section makes analysis of the reasons responsible for his carnival style by the integration and choice of varied factors possibly shaping up Mo Yan’ s personal style of writing. The collective accumulation of the orthodox Confucian culture together with the culture of mystery and the supernatural in Shangdong has unconsciously shaped Mo Yan’ s psychology and thoughts. All these factors, including his childhood’ s life, his grandfather and elder grandfather’ s legendary experience, the atmosphere of the times, and individual’ s living environment have reserved abundant resources for Mo Yan’ s writing; the current of the social transition an。