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何成洲教授(南京大学)

发布日期:2018-03-07

何成洲,南京大学外国语学院教授、博士生导师,艺术学院院长,长江学者特聘教授,欧洲科学院外籍院士。兼任江苏省比较文学学会会长、中国-北欧文化研究中心主任、南京大学-布朗大学性别与人文研究项目中方主任等。主要从事欧美戏剧、比较文学和批评理论研究。代表性著作包含:《易卜生与中国话剧》(英文)、《对话北欧经典》、《文学的操演性》(英文)等。

 

 

Nativist Narrative, Eventfulness and Historical Trauma: Mo Yan’s “Hallucinatory Realism” in Sandalwood Death

Based on the close reading of Mo Yans novel Sandalwood Death, this paper offers an interpretation of his so-called “hallucinatory realism” from the following three perspectives: nativist narrative, eventfulness and historical trauma. These three aspects are not separate from one another, but rather form an interactive and interconnected network, with a strong focus on the sandalwood punishment as the major event. In terms of narrative, one of the unique features of Sandalwood Death is the local Maoqiang opera, which has existed in the Gaomi region for more than a century. Maoqiang opera not only plays a role in telling stories but also penetrates into all aspects of the novel. As the key event in this novel, sandalwood punishment undergoes three stages of narrative: First, the preparations for the event of punishment. Not only does the story need some expositions, but the readers also should be made ready for the horrible scenes of torture. Second, detailed descriptions of the execution process, which are terribly shocking to the readers. Third, the different responses to the execution that are orchestrated among different groups of people witnessing the torture. The narrative of the sandalwood punishment that has gone beyond the realistic basis reenacts the historical trauma the German colonial rule in Shandong brought to the local farmers at the turn of the 20th century. In this novel, Mo Yan is engaged in the literary recreation of folk heroes through nativist narrative and reinvents certain extraordinary event of colonial trauma, which demonstrates his native sentiments as well as humanistic care. These constitute the essence of Mo Yan’s hallucinatory realism.