本文選題：欲望 + 敘事　； 參考：《上海外國(guó)語(yǔ)大學(xué)》2017年博士論文

【摘要】：本文采用比較文學(xué)主題學(xué)研究范式與精神分析敘事學(xué)相結(jié)合的方法,以欲望敘事為核心線索,在東西方文化融合的語(yǔ)境中,全面考察晚清至五四時(shí)期中國(guó)文學(xué)中的小說(shuō)敘事模式的變化。研究基于精神分析學(xué)中以欲望為驅(qū)動(dòng)力的理論,將欲望視為小說(shuō)敘事動(dòng)力,來(lái)考察欲望表述如何通過(guò)一套敘事策略在小說(shuō)中實(shí)現(xiàn),從而以小說(shuō)主題流變的形式來(lái)對(duì)這一時(shí)期的文學(xué)現(xiàn)象形成史的觀照。欲望敘事分析從欲望敘事與敘事倫理關(guān)系變化角度來(lái)切入,探討欲望敘事機(jī)制如何順應(yīng)或規(guī)避倫理制約,逃避審查,以獲得合法性進(jìn)入文本,繼而提供敘事審美快感。欲望如何成為小說(shuō)敘事的發(fā)展動(dòng)力和變革的核心力量,敘事空間的轉(zhuǎn)移,敘事結(jié)構(gòu)、欲望主客體關(guān)系變化等方面所采取的文本策略是焦點(diǎn)問(wèn)題。緒論首先界定了作為研究對(duì)象的晚清至五四欲望敘事,介紹研究緣起、研究對(duì)象,進(jìn)行研究綜述;繼而厘清本文所使用的欲望概念及相關(guān)精神分析理論,在此基礎(chǔ)上陳述本文研究方法與思路。第一章分析晚清狹邪小說(shuō)中的欲望敘事,首先簡(jiǎn)述晚清之前中國(guó)文學(xué)史上的欲望敘事,并重點(diǎn)分析明清白話小說(shuō)的興起與欲望敘事的關(guān)聯(lián);在接下來(lái)的分析中文章指出狹邪小說(shuō)是處于從古典到現(xiàn)代轉(zhuǎn)型的小說(shuō)類(lèi)別,在敘述日常欲望上體現(xiàn)了世俗現(xiàn)代性。第二章主要分析晚清翻譯文學(xué)中欲望敘事的新穎因素及其對(duì)小說(shuō)敘事模式的拓展,指出了這一時(shí)期的翻譯文學(xué)在外來(lái)審美資源與傳統(tǒng)價(jià)值體系之間不斷調(diào)適,以此對(duì)敘事倫理加以突破,從而使后來(lái)的小說(shuō)創(chuàng)作能容納更多的欲望敘事。第三章研究從晚清到民初言情小說(shuō)風(fēng)潮中的欲望敘事變化,指出這一時(shí)期不同階段、不同類(lèi)型的言情小說(shuō)發(fā)展脈絡(luò),是欲望敘事在翻譯文學(xué)影響下嘗試不同載體的一條發(fā)展路徑。其中重點(diǎn)分析了白話寫(xiě)情小說(shuō)在敘事結(jié)構(gòu)和敘事空間上的拓展,鴛鴦蝴蝶派文言小說(shuō)的文體作用及都市言情通俗小說(shuō)欲望敘事的現(xiàn)代意識(shí)與局限。第四章以較重篇幅分析以啟蒙敘事為基調(diào)的五四新文學(xué)中,在西方話語(yǔ)影響下,欲望如何憑借與啟蒙話語(yǔ)的同構(gòu)性進(jìn)入到敘事中,并形成了流行的婚戀敘事模式。文章還著重考察了魯迅小說(shuō)的多重意蘊(yùn),從欲望角度對(duì)其作品作不同于傳統(tǒng)批評(píng)的解讀,分析了郁達(dá)夫等作家的“自敘傳”小說(shuō)與性愛(ài)小說(shuō)之于啟蒙敘事的意義,集中考察了五四時(shí)期女性作家的興起及其代表作中的欲望敘事。結(jié)論部分指出欲望作為敘事動(dòng)力,在晚清至五四小說(shuō)敘事藝術(shù)發(fā)展上、尤其是從古典敘事到現(xiàn)代小說(shuō)的轉(zhuǎn)型中是潛在而核心的力量。欲望需要通過(guò)敘事得到滿(mǎn)足,事關(guān)審美效果的實(shí)現(xiàn),但欲望的敘事同時(shí)必須受到敘事倫理制約,二者處在不斷的制約-突破關(guān)系變化中,致使小說(shuō)敘事模式相應(yīng)而變。結(jié)論還指出,以欲望敘事作為考察線索具有連續(xù)性,小說(shuō)欲望敘事在之后的三十年代、四十年代、新時(shí)期、世紀(jì)之交等時(shí)期持續(xù)變化。在本文晚清至五四的小說(shuō)研究基礎(chǔ)上,可以繼續(xù)進(jìn)行延伸拓展研究。本研究首次以精神分析學(xué)欲望理論為基礎(chǔ),以欲望敘事流變來(lái)考察小說(shuō)發(fā)展?fàn)顩r,嘗試從全新的視角來(lái)把握文學(xué)史現(xiàn)象,此研究試圖建立一條從敘事動(dòng)力到小說(shuō)形式美學(xué)的研究路徑,凸顯小說(shuō)審美快感與人性本能之間的關(guān)聯(lián);文章采用比較文學(xué)主題研究與精神分析理論相結(jié)合的研究方法,自覺(jué)在中外文學(xué)關(guān)系研究中進(jìn)行比較文學(xué)研究范式的創(chuàng)新及實(shí)踐,以此來(lái)探索影響研究之外的新思路;本研究為文學(xué)研究和文學(xué)批評(píng)提供了一種新視野,為“重寫(xiě)文學(xué)史”提供了彌合傳統(tǒng)-現(xiàn)代文學(xué)斷裂、通俗-精英文學(xué)鴻溝的解決思路。
[Abstract]:This article uses the method of the combination of the comparative literary thematic research paradigm and the psychoanalytic narratology, taking the desire narrative as the core clue, in the context of the eastern and Western cultural integration, to examine the changes in the narrative patterns of the novels in the Chinese literature from the late Qing Dynasty to the 54 period. The desire is regarded as the motive of the novel narrative, to examine how the expression of desire is realized through a set of narrative strategies, so as to look at the history of the literary phenomenon in this period by the form of the theme of the novel. Should or evade ethical constraints, evade the review, in order to obtain legitimacy into the text, and then provide the narrative aesthetic pleasure. How desire becomes the motive force and core force of the novel narrative, the transfer of narrative space, the narrative structure, the change of the relationship between the desire subject and the object, and so on. The introduction first defines the problem. As the research object of the late Qing Dynasty to the 54 desire narrative, introduce the origin of the research, the research object, carry on the research summary; then clarify the desire concept and the related psychoanalysis theory used in this article, and then state the research method and thought of this article. The first chapter analyses the desire narrative in the late Qing Dynasty's narrow evil novel, first of all, briefly describe the late Qing Dynasty. The narrative of desire in the history of Chinese literature focuses on the correlation between the rise of the vernacular novels of the Ming and Qing Dynasties and the narration of desire. In the following analysis, the article points out that the narrow evil novel is a novel category in the transition from classical to modern, and embodies the secular modernity in the narration of daily desires. The second chapter mainly analyzes the narration of desire in the late Qing translation literature. The novelty of the story and the expansion of the narrative mode of the novel, point out that the translation literature of this period is constantly adjusted between the foreign aesthetic resources and the traditional value system, so as to break through the narrative ethics, so that the later novel creation can accommodate more desire narration. The third chapter studies the romantic novel from the late Qing Dynasty to the early days of the Republic of China. The change of desire narration points out that the development of different stages and different types of romance novels in this period is a developing way of trying different carriers under the influence of translation literature. The emphasis is on the expansion of the narrative structure and the narrative space of the vernacular romance novels and the stylistic role of the Mandarin Duck and butterfly classical novels. And the modern consciousness and limitations of the desire narration of the urban romantic novels. The fourth chapter, in the 54 new literature of the enlightenment narrative as the keynote, makes the desire to enter into the narrative with the isomorphism of the enlightening discourse and forms the popular pattern of marriage and love narration under the influence of the western discourse. The article also focuses on Lu Xun. The multiple meaning of the novel is different from the traditional criticism from the angle of desire. It analyzes the meaning of "Narration" and sex novels by Yu Dafu and other writers in the enlightenment narration. It concentrates on the investigation of the rise of the female writers in the 54 period and the desire narration in their representative works. Force, in the development of narrative art in the late Qing Dynasty to the 54 novel, especially in the transition from classical narrative to modern novel, is a potential and core force. Desire needs to be satisfied through narrative, which is related to the realization of aesthetic effect, but the narrative of desire must be subject to narrative ethics, and the two are in constant restriction - breakthroughs. The narrative pattern changes accordingly. The conclusion also points out that the desire narrative as an investigation clue has continuity. The narrative of desire of the novel continues to change in the period of 30s, 40s, the new period and the turn of the century. On the basis of the novel research of the late Qing Dynasty to 54, this study can continue to extend the research. On the basis of the theory of psychoanalytic desire, this study tries to investigate the development of novels by the rheology of desire narration and tries to grasp the phenomenon of literary history from a new perspective. This study tries to establish a research path from narrative power to novel form aesthetics, and highlights the relationship between aesthetic pleasure and human instinct; the article uses a comparative text. The research method combining the study of the subject and the psychoanalytic theory is to explore the innovation and practice of the comparative literature research paradigm in the study of Chinese and foreign literature relations, in order to explore the new ideas that influence the study. This study provides a new vision for literary and literary criticism, and provides a new way to rewrite the history of literature. The breakup of modern modern literature is the solution of the popular literature gap.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I207.4

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本文編號(hào)：2009158