本文選題：劉盛亞 + 結(jié)構(gòu)特征　； 參考：《重慶師范大學(xué)》2017年碩士論文

【摘要】：劉盛亞是重慶抗戰(zhàn)文學(xué)中被忽略的一位作家,1915年出生于重慶,1935年始輾轉(zhuǎn)于北平、武漢、德國等地。豐富的見聞使他的抗戰(zhàn)文學(xué)創(chuàng)作不僅服務(wù)于戰(zhàn)爭,而且也將其視角延伸至生活之中,使他的抗戰(zhàn)文學(xué)具有現(xiàn)實(shí)性與史詩性相結(jié)合的特征。然而,文藝界對他抗戰(zhàn)作品的研究尚局限于敘事內(nèi)容的研究,對其作品的整體性研究十分欠缺。本文試圖對劉盛亞抗戰(zhàn)文學(xué)的敘事藝術(shù)展開整體性研究。論文由以下六部分構(gòu)成。緒論部分闡釋問題來源及研究意義,介紹劉盛亞抗戰(zhàn)時(shí)期的文學(xué)創(chuàng)作,總結(jié)前人對劉盛亞抗戰(zhàn)文學(xué)的研究狀況,分析其中所存在的不足。第一章分析劉盛亞抗戰(zhàn)文學(xué)的結(jié)構(gòu)特征,即故事的構(gòu)成形態(tài)。劉盛亞抗戰(zhàn)作品在結(jié)構(gòu)上呈現(xiàn)出綴段性框架結(jié)構(gòu)、單線性發(fā)展結(jié)構(gòu)及復(fù)線性交錯(cuò)結(jié)構(gòu)的特征。第二章是對劉盛亞抗戰(zhàn)文學(xué)敘事聲音的考察。分別從敘事聲音的類別及敘事聲音的多重性兩方面展開論述。第三章闡釋劉盛亞抗戰(zhàn)文學(xué)中的敘事視角。劉盛亞通過對敘述人外視角與人物內(nèi)視角的選擇構(gòu)建了他的創(chuàng)作主題,視角的選擇具有流動(dòng)性的特征。第四章論述劉盛亞抗戰(zhàn)文學(xué)中的敘事節(jié)奏。節(jié)奏是作者在敘述過程中規(guī)律性的變化。在劉盛亞的戰(zhàn)時(shí)作品中,主要采用了追述與預(yù)述、對場景的安排與加速度三種節(jié)奏形式。以上節(jié)奏形式對情節(jié)的設(shè)置不僅能分出事件的輕重緩急,也能為作者創(chuàng)作一個(gè)統(tǒng)一的審美氛圍。結(jié)語部分總結(jié)了劉盛亞抗戰(zhàn)文學(xué)的敘事藝術(shù)及形成原因。劉盛亞受五四新文學(xué)與抗戰(zhàn)文學(xué)的雙重影響,他于抗戰(zhàn)時(shí)期創(chuàng)作的作品所形成的敘事藝術(shù),一是來源于“文藝為抗戰(zhàn)服務(wù)”創(chuàng)作思想的影響,二是受人道主義創(chuàng)作思想的啟發(fā),三是現(xiàn)實(shí)主義寫作思想的指導(dǎo)。
[Abstract]:Liu Shengya is a neglected writer in the literature of Chongqing War of Resistance against Japan. He was born in Chongqing in 1915, and began to travel in Peiping, Wuhan, Germany and other places in 1935. His literary creation not only served the war, but also extended his perspective to life, which made his anti-Japanese literature have the characteristics of combining reality with historical poetry. However, the study of his works in the literature and art circles is still limited to the study of narrative content, and the research on the integrity of his works is very lacking. This paper attempts to carry out a holistic study on the narrative art of Liu Shengya's anti-Japanese literature. The thesis consists of the following six parts. The introduction explains the origin of the problem and its significance, introduces Liu Shengya's literary creation during the Anti-Japanese War, summarizes the research situation of Liu Shengya's anti-Japanese literature, and analyzes the shortcomings. The first chapter analyzes the structural characteristics of Liu Shengya's anti-Japanese literature, that is, the composition of the story. The structure of Liu Shengya's Anti-Japanese War works is characterized by segmental frame structure, single linear development structure and complex linear staggered structure. The second chapter is the investigation of Liu Shengya's narrative voice in anti-Japanese literature. This paper discusses the types of narrative sounds and the multiplicity of narrative sounds. The third chapter explains Liu Shengya's narrative angle of view in anti-Japanese literature. Liu Shengya constructs his creative theme through the choice of external and internal perspectives of narration, and the choice of visual angle has the characteristic of fluidity. The fourth chapter discusses the narrative rhythm in Liu Shengya's anti-Japanese literature. Rhythm is the change of regularity in the process of narration. In Liu Shengya's wartime works, there are three main rhythmic forms: recall and prestate, scene arrangement and acceleration. The setting of the above rhythm can not only prioritize the events, but also create a unified aesthetic atmosphere for the author. The conclusion summarizes the narrative art of Liu Shengya's anti-Japanese literature and the reasons for its formation. Liu Shengya was influenced by the May 4th New Literature and Anti-Japanese War Literature. The narrative art formed by his works during the Anti-Japanese War came from the influence of "Literature and Art in the Service of Anti-Japanese War", and the second was inspired by humanitarianism. Third, the guidance of realistic writing thought.
【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I206.6

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