能指的狂欢与解构的现实——论《兄弟》的批评及伪民间性

文章对《兄弟》的三种批评模式进行了归纳,传统现实主义美学框架内的批评明显不适于评价已经超越现实主义边界的《兄弟》,＂不真实＂、语言粗俗等结论就是用这种方法得出的。通过深入的文本分析,论文认为《兄弟》运用超现实的手法,借鉴拉伯雷的怪诞现实主义形式,表达了对文革和改革两个动荡、巨变的时代精神之荒诞性的体认,是一部勇于＂写当下＂的探索之作。但余华只取了民间诙谐的审美形式（怪诞现实主义）,却放弃了再生的精神,因此具有伪民间性,整个文本表现为能指的狂欢,不过他还是保留了爱的种子。

On the Criticism and the Pseudo-folk Nature of Brothers

This paper summarizes the three modes of criticism for Brothers and opines that the mode of criticism built upon the framework of aesthetics of traditional realism is apparently not fit for evaluating or assessing Brothers—a novel beyond the boundary of realism,as is evident in the use of such remarks as ＂untrue＂,＂vulgar language＂ etc.—an outcome of the traditional criticism mode. Through an in-depth textual analysis,this paper holds that Brothers,written in a surrealist style and modeled on Rabelais＇s fantastic realism,is an explorative novel aimed at ＂current issues＂ in that it acknowledges the absurdity of the spirit of the turbulent and tumultuous era of the ＂Cultural Revolution＂ and of economic reform and opening up. Nevertheless,in his writing of the novel,Yu Hua has merely drawn on the humorous folk form of aesthetics （fantastic realism） but repudiated the spirit of resurrection,hence the novel is permeated with a pseudo-folk nature and reflective of revelry of the signified; however,the seed of love is preserved in his writing.