Abstract: Both Magical Realism and Hallucinatory Realism (exhibited by Mo Yan) are eminent for their ethnic identities with an assimilation of the art of surrealism. The methodologywhich the former created successfully, that is, a combination between surrealism aesthetic and their own ethnic one, exerted a profound influence on the world literature, including the latter. The production of bothMagical Realism and Hallucinatory Realism are unique in their ethnic historical background, writers' life experience and aesthetic preference, which contribute to their irreplaceable value in the world literature. Accordingly, based on the history of Magical Realism and Hallucinatory Realism, Marquez and Mo Yan are introduced as examples to be analyzed from the perspective of personal philosophy, aesthetic path, strategy of localization in literature production. The aesthetic texture of Magical Realism and Hallucinatory Realism can be better understood in the comparison.

Key words: Magical Realism, Hallucinatory Realism, Aesthetic path, strategy of localization, Garcia Marquez, Mo Yan

摘要： 魔幻现实主义与幻觉现实主义在吸纳和发展超现实主义之后,在世界文学中以显著的民族美学特色见长,但前者率先将超现实主义美学与民族美学的成功结合形成的方法论,对其后的世界文学创作产生巨大的影响,莫言的幻觉现实主义生成与其影响有一定的相关性。在这两种美学风格的生产过程中,其个性通过熔铸了经典作家基于民族历史、成长环境和对审美的追求,而显示出其在世界文学中不可替代和不可遮蔽的价值。由此从文学史的角度追溯两种美学风格的沿革,再以经典作家马尔克斯和莫言的创作为例,从文学生产的价值观、文学生产的美学路径、文学生产的本土化策略三个维度展开分析比较,由此梳理基于民族风格视域下魔幻现实主义和幻觉现实主义文学生产的肌理。

关键词: 魔幻现实主义, 幻觉现实主义, 美学路径, 本土化策略, 马尔克斯, 莫言