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同为诺贝尔文学奖获得者的中国作家莫言和德国作家赫塔.米勒都以自己的乡土经验为主要创作源泉,大力开掘各自故土负载的历史创伤和苦难记忆,借助彼此迥异而强度相似的美学想象,构建出了与现实世界若即若离的文学空间。他们的乡土叙事无疑包含了一定的政治批判,但其魅力所在却是对残酷历史境遇中人类存在体验的特殊美学表达,其中折射出了文学自身对现实压迫和精神困境的反抗力量。他们书写的乡土图景从内容到形式都瓦解了19、20世纪的浪漫想象和革命叙事,对立于以城市诗学为表征的现代文明及现代美学,表现出对文明与野蛮交错的复杂人性的重新探问。在丰富多元的世界文学中,两位作家恰恰依仗经他们美学改造而意蕴深厚的乡土经验占有了特定的地位。
Both Chinese writer Mo Yan who won the Nobel Prize in Literature and German writer Heita Miller use their own local experience as the main source of creation, vigorously digging the historic wounds and misery memories of their homeland loads, Aesthetic imagination, constructed with the reality of the world’s literary space. Their native narrative undoubtedly contains some political criticism, but its charm lies in the special aesthetic expression of the experience of human existence in the cruel historical situation, which reflects the literature’s own resistance to the oppression of reality and the spiritual predicament. The native pictures they wrote disrupted the romantic imagination and revolutionary narrative of the 19th and 20th centuries from the content to the form, against the modern civilization and modern aesthetics characterized by urban poetics, showing the renewed complexity of human nature and savagery Explore. In rich and diverse world literature, the two writers occupy a specific position precisely based on the profound local experience gained through their aesthetic transformation.