本文關(guān)鍵詞： 張愛玲 現(xiàn)代性 五四新文學(xué)　出處：《華東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文運用現(xiàn)代性的理論框架,考察了"五四"新文化運動以來中國現(xiàn)代文學(xué)發(fā)展的脈絡(luò)。在看到"五四"新文學(xué)對"現(xiàn)代性"的利用存在"傳統(tǒng)/現(xiàn)代"、"東方/西方"二元對立的思維缺陷后,本文找到了在某種程度上突破了這一缺陷的文學(xué)樣本——張愛玲,重新用文學(xué)歷史"整體觀"的眼光對張愛玲的小說現(xiàn)代性進行分析。張愛玲是一位對傳統(tǒng)文化有自信心、善于從傳統(tǒng)文學(xué)中尋找資源的作家。因此,《傳奇》時期的張愛玲小說,實際上是從她獨有的現(xiàn)代觀出發(fā),描繪了一條中國社會特有的現(xiàn)代化道路。這條道路背后一直有著隱隱的傳統(tǒng)文化力量在支撐。在張愛玲描繪的新舊交雜、中西交雜的中國社會背后,是人生荒涼的底色,這使張愛玲的作品充滿了獨特的反諷意味。另外,張愛玲這些思想,都通過她純熟的敘事技巧才得以展現(xiàn)。由于創(chuàng)作環(huán)境的改變,張愛玲創(chuàng)作的后期,"自譯"和"重寫"成為了她寫作的主旋律。張愛玲一心以英文寫作在美國立足卻宣告失敗,因為她的英文表達無法被英文世界的讀者理解。她的英文中出現(xiàn)了太多"硬譯"以及"不英不中"的表達,這與她對中國傳統(tǒng)和中文表達方式的依戀有關(guān)。而她前期代表性的"意象化敘事"在英文中也喪失了表達作用。即使張愛玲做過一些在細節(jié)上吸引西方讀者努力,比如加入一些對中國獵奇的因素。但因為她實際上仍然站在一個認同中國文化的立場上,所以她也沒有意識到自己的努力其實是失敗的。除此之外,結(jié)合張愛玲一遍遍重寫自己過去的故事的行為,我們看到的是她用不同視角來敘述幼年那個傳統(tǒng)家庭的故事的強烈愿望。張愛玲對于自己的創(chuàng)作,也秉持著并不"線性"的現(xiàn)代觀。最后,本文得出的結(jié)論是,張愛玲是一位真正站在中國文化立場的作家。從她小說現(xiàn)代性的角度來看,她吸收現(xiàn)代思想的同時,也深刻認同傳統(tǒng)文化的價值。"蒼涼"的底色,正是因為中國社會在自主現(xiàn)代化的過程中所必然陷入的一種境地。
[Abstract]:This paper makes use of the theory of modernity, investigated the development of Chinese modern literature since the 54 "new culture movement. See" using 54 "new literature on" Modernity "of the existence of" tradition and modern "," thinking defects of East and west "binary opposition between the two, this paper found in some breakthrough this defect literature sample -- Eileen Chang, again with the history of literature" holistic "vision of Eileen Chang's modernity analysis. Eileen Chang is one of the traditional cultural self-confidence, good looking for resources from the traditional literature writer. Therefore, the legend of Eileen Chang in the period of the novel < >, actually is a modern concept from her unique perspective, represents a unique social modernization Chinese. Behind this road has been a traditional cultural force in support. Eileen Chang described in the old and new mixed, and mixed Chinese agency Behind, life is bleak background, which makes Eileen Chang's works are full of unique irony. In addition, the Eileen Chang thought, through her skillful narrative techniques are presented. Due to the creation of the environment changes, the late Eileen Chang's creation, "translation" and "re write" became her writing master melody. Eileen Chang was writing in the United States to English based but failed, because her English expression cannot be English readers to understand the world. Her English appeared too much "hard translation" and "expression is neither English nor", this with her in Chinese traditional and Chinese expression. And her attachment the representative of the "imagery narrative" in English also lost the expression. Even if Eileen Chang had done some efforts of appealing to the Western readers in detail, such as adding some of the China novelty factor. But because she actually still standing in a. Stand with China culture, so she is not aware of their efforts is actually a failure. In addition, with Eileen Chang again to rewrite his story of the past behavior, we see her to the traditional narrative juvenile family story with a different perspective of a strong desire. Eileen Chang for his creation. It is not "linear" with the modern values. Finally, the paper draws the conclusion that Eileen Chang is a real stand in the Chinese cultural position of writer. Her novels from the modern perspective, she absorbed the modern ideas at the same time, but also profound recognition of the value of traditional culture. The "desolate" background, it is because a position in society in the process of modernization Chinese independent in the inevitable fall into.

【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.42

【參考文獻】

相關(guān)期刊論文 前10條

1 吳福輝;;張愛玲晚期作品講讀提要[J];漢語言文學(xué)研究;2014年01期

2 湯擁華;;“抒情傳統(tǒng)說”應(yīng)該緩行——由王德威《抒情傳統(tǒng)與中國現(xiàn)代性——在北大的八堂課》引發(fā)的思考[J];文藝研究;2011年11期

3 王德威;;眾聲喧嘩以后:當(dāng)代小說與敘事倫理——在人民大學(xué)的演講[J];當(dāng)代文壇;2011年06期

4 張伯存;;悲涼與熾熱交織的生命旅程——張愛玲《異鄉(xiāng)記》釋讀[J];現(xiàn)代中文學(xué)刊;2011年05期

5 許子?xùn)|;;張愛玲晚期小說中的男女關(guān)系[J];文學(xué)評論;2011年02期

6 許子?xùn)|;;《小團圓》中的母女關(guān)系[J];新文學(xué)史料;2011年01期

7 古遠清;;國民黨為什么不認為《秧歌》是“反共小說”[J];新文學(xué)史料;2011年01期

8 陳娟;;張愛玲與外國文學(xué)[J];新文學(xué)史料;2011年01期

9 蔡登山;;張愛玲文壇交往錄(1943—1952,上海)[J];新文學(xué)史料;2011年01期

10 王德威;王宇譯;;雷峰塔下的張愛玲:《雷峰塔》、《易經(jīng)》,與“回旋”和“衍生”的美學(xué)[J];現(xiàn)代中文學(xué)刊;2010年06期

相關(guān)博士學(xué)位論文 前2條

1 楊雪;多元調(diào)和：張愛玲翻譯作品研究[D];上海外國語大學(xué);2007年

2 張黎;中國文學(xué)傳統(tǒng)的現(xiàn)代回響及其與“現(xiàn)代性”之關(guān)系[D];復(fù)旦大學(xué);2005年

相關(guān)碩士學(xué)位論文 前1條

1 劉曉虹;非常時期的"平常"取向——張愛玲、蘇青的生存觀與文學(xué)觀剖析[D];清華大學(xué);2004年

，

本文編號：1496484