本文關(guān)鍵詞：魯迅與余華筆下癲狂形象塑造比較論　出處：《遼寧大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

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【摘要】：在中國文學(xué)歷史發(fā)展中,癲狂形象以獨特的心理特征和審美內(nèi)涵,成為文學(xué)描述的對象。作家們借“癲狂“形象來表達(dá)對社會現(xiàn)實的反思和批判以及對反邏輯、反理性的情感訴求�！拔逅摹睍r期,癲狂者因其內(nèi)在的反抗邏輯,逐漸成為眾多現(xiàn)代作家創(chuàng)作中的重要文學(xué)形象。時隔半個多世紀(jì),20世紀(jì)80年代以來,中國當(dāng)代作家又掀起了新一輪的癲狂形象書寫高潮。魯迅和余華,一位是象征著中華“民族魂”的現(xiàn)代文學(xué)奠基人,在泥沙俱下的時代,敢于冒天下之大不韙,引導(dǎo)著人們的精神世界;一位是新時期對文學(xué)寫作有著獨特理解和鮮明寫作個性具有顛覆性的先鋒作家。時空流轉(zhuǎn)中,他們在諸多方面進行著思想上的接壤與交流。雖然他們在癲狂形象塑造的文章中表現(xiàn)的側(cè)重點并不相同,但內(nèi)質(zhì)的先鋒性使得兩位作家在遙隔半個多世紀(jì)后,精神上相遇,并得到了文化傳承。 本文試圖從癲狂形象塑造這一微觀角度出發(fā),按照人物形象分類評析,向深處挖掘兩位作家思想內(nèi)在的一致性以及傳承性,從而在比較中試圖找尋由現(xiàn)代文學(xué)到當(dāng)代文學(xué)的內(nèi)在聯(lián)系。 本文分為六章,圍繞余華與魯迅筆下癲狂形象的塑造比較它們的異同之處。第一章從理論上界定了“癲狂”的內(nèi)涵,在古今癲狂形象的演進中得出了現(xiàn)當(dāng)代癲狂形象書寫的兩個高峰。第二章試圖從社會、政治、文化語境中尋求二人在癲狂形象塑造背后的社會原因。第三章圍繞“癲狂”對比魯迅、余華二人在癲狂形象塑造上的文學(xué)觀念。主要從三方面進行對比:一是真實主義與心理真實;二是對靈魂的挖掘與暴力展覽;三是“反抗絕望”的哲學(xué)與去理性化寫作模式。第四章則回到文本,通過閱讀比較,將二人筆下的癲狂形象分為四種類型:迫害狂、末路英雄、性格缺陷者以及可憐的小人物,試圖尋求二人在塑造這些癲狂形象上的異同之處。第五章以敘事學(xué)理論為基礎(chǔ),從敘事視角、敘事結(jié)構(gòu)和敘事語言三方面,對比魯迅與余華在癲狂文本中的異同。第六章是本文的結(jié)論部分,這部分通過東西方癲狂形象上的橫向?qū)Ρ?返回魯迅與余華的癲狂文本,得出了尼采型向�？滦桶d狂形象的轉(zhuǎn)變,并以魯迅為坐標(biāo),講述了余華在其影響下創(chuàng)作上的意義與缺失。 綜上所述,魯迅在癲狂形象塑造上開創(chuàng)了中國現(xiàn)代文學(xué)之先河,以哲學(xué)思考灌注其中,上升到了人類學(xué)的高度,既是一位偉大的作家,又是一位有深度的思想家。余華在癲狂形象的塑造上有意識地拋棄了對深度與理性的追求,既有對魯迅人性主題的拓展與延伸,又有在敘事上的突破,不失為當(dāng)代優(yōu)秀的作家。他們的探索與實踐都豐富了中國現(xiàn)當(dāng)代文學(xué)的內(nèi)涵,拓展了癲狂形象的外延。
[Abstract]:In the historical development of Chinese literature, the image of mania has become the object of literary description with its unique psychological characteristics and aesthetic connotations. Writers use the image of "mania" to express their reflection and criticism of social reality and their counter-logic. Anti-rational emotional appeal. "May 4th Movement" period, because of its internal resistance logic, gradually become a number of modern writers in the creation of an important literary image, half a century from the 20th century since 80s. Chinese contemporary writers have set off a new wave of crazy image writing climax. Lu Xun and Yu Hua, the founder of modern literature who symbolizes the "national soul" of China, dare to risk universal condemnation in the dusty times. Guiding the spiritual world of people; One is a pioneer writer who has a unique understanding of literary writing in the new period and whose distinctive writing personality is subversive. Although they have different emphases in the articles created by manic images, the avantgarde of endoplasm makes the two writers separate from each other more than half a century later. Spiritual encounter and cultural heritage. This paper tries to build the image of madness from the micro point of view, according to the classification of characters, to explore the depth of the two writers thought of the internal consistency and inheritance. Therefore, the author tries to find the internal connection from modern literature to contemporary literature in comparison. This article is divided into six chapters, around Yu Hua and Lu Xun under the creation of the image of madness compared their similarities and differences. The first chapter from the theoretical definition of "mania" connotation. In the evolution of the image of mania in ancient and modern times, there are two peaks in the writing of the image of mania in modern times. The second chapter tries to make an attempt from the social and political aspects. In the cultural context, we seek the social reasons behind the creation of the manic image. Chapter three contrasts Lu Xun around "Madness". The literary ideas of Yu Hua in the creation of crazy image are mainly contrasted from three aspects: one is truthism and the other is psychological truthfulness; Second, the excavation of the soul and the exhibition of violence; The third is the philosophy of resisting despair and the mode of derationalized writing. Chapter 4th returns to the text, through reading and comparing, the two people's crazy image is divided into four types: persecute, terminal hero. The personality defects and the poor little people try to find the similarities and differences in the creation of these crazy images. Chapter 5th is based on narratology theory from the perspective of narrative narrative structure and narrative language. Chapter 6th is the conclusion part of this paper. This part through the horizontal comparison of the image of East-West mania, return to Lu Xun and Lu Xun crazy text. The transformation from Nietzsche to Foucault is obtained, and then, taking Lu Xun as the coordinate, the author tells the significance and lack of Yu Hua's creation under his influence. To sum up, Lu Xun in the creation of the image of madness created the first modern Chinese literature, with philosophical thinking into which, rose to the height of anthropology, is a great writer. Yu Hua consciously abandoned the pursuit of depth and reason in the creation of crazy image, which not only expanded and extended the theme of human nature of Lu Xun, but also made a breakthrough in narration. Their exploration and practice have enriched the connotation of modern and contemporary Chinese literature and expanded the extension of crazy image.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：I207.42

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 李明偉;論中西方畫家作品中的癲狂精神[D];山西師范大學(xué);2013年

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本文編號：1439573