【摘要】 莫言坦率承认他受到了一些外国作家的影响，也坦率承认他受到了一些外国作品的影响。在他看来，作家拒绝承认外国文学对自己的影响其实是一种不必要的虚伪；作家承认借鉴了外国文学，并不影响他们的伟大。莫言多次承认受到马尔克斯的影响，但他一直拒绝承认《红高粱》受到《百年孤独》的影响。为此，他还反复强调在写《红高粱》之前并没有读过《百年孤独》，这让研究《红高粱》受《百年孤独》影响的影响研究显得无所适从。通过莫言的自我陈述梳理他与外国文学的关系，不难发现影响研究有两大信用危机，一是“证据不足”的危机，二是“意义解构”的危机。正是从这个角度出发，莫言才说比较文学就是“拉郎配”。影响研究在处理作家与外来文学关系时，极易陷入“证据不足”与“意义解构”的双重信用危机。文本比对的考证仅仅是研究的起点；倘若所谓的“影响”缺乏在读者层、批评界乃至更广泛的社会文化氛围中被接纳、讨论与转化的可靠证据，那么任何基于相似的因果推断都可能沦为一种平行发展或共同原型的巧合，而非真实的影响轨迹。更多还原

【Abstract】 Mo Yan candidly acknowledged that he has been influenced by certain foreign writers as well as specific foreign literary works. In his view, it is an unnecessary form of hypocrisy for writers to deny the impact of foreign literature on their own work; admitting such influence does not diminish their greatness. While Mo Yan has repeatedly recognized the inspiration he drew from Gabriel García Márquez, he has consistently denied that his novel Red Sorghum was influenced by One Hundred Years of Solitude. To support his statement, he has repeatedly emphasized that he had not read One Hundred Years of Solitude before writing Red Sorghum, which leaves studies on the influence of One Hundred Years of Solitude on Red Sorghum in an awkward position. By examining Mo Yan’s own accounts of his relationship with foreign literature, it becomes evident that influence studies face two major credibility crises: first, a crisis of “insufficient evidence,” and second, a crisis of “deconstructed significance.” It is from this perspective that Mo Yan remarked that comparative literature is essentially “forcing a match”.更多还原