本文關(guān)鍵詞：虹影小說的敘事倫理，，由筆耕文化傳播整理發(fā)布。

        在現(xiàn)代漢語語境中,劉小楓在《沉重的肉身》一書中較早提出“敘事倫理”這一術(shù)語,認(rèn)為敘事倫理學(xué)不探究生命感覺的一般法則和人的生活應(yīng)遵循的基本道德觀念,也不制造關(guān)于生命感覺的理則,而是講述個人經(jīng)歷的生命故事,通過個人經(jīng)歷的敘事提出關(guān)于生命感覺的問題,營構(gòu)具體的道德意識和倫理訴求。此后,許多文學(xué)批評家都開始著手進(jìn)行敘事倫理的研究,通過對東西方學(xué)術(shù)史上敘事與倫理的交叉研究,來探討敘事倫理作為倫理批評新道路的發(fā)展方向,認(rèn)為敘事倫理關(guān)注個體的倫理感受,是一種回歸文學(xué)本位的批評方法。虹影是中國當(dāng)代文壇上一個極具爭議性的作家,性愛寫作大膽、書寫風(fēng)格另類,與傳統(tǒng)小說中的道德倫理顯得格格不入,小說中夸張的敘事手法、扭曲的倫理空間、對人性的深掘,是敘事倫理研究的極佳個案。本文以虹影的小說為研究對象,從虹影小說中性愛、家庭、歷史、民間四個關(guān)鍵詞入手,運用敘事倫理的研究方法,來探究虹影小說中各種倫理道德的可能性,剖析虹影小說中倫理空間形成的原因。全文分為四章：第一章是論述虹影小說中多元開放的性倫理,介紹虹影小說中常見的三種情愛模式：女同性戀、忘年戀、跨國戀,通過對這三種情愛模式的分析來探討女性性別的創(chuàng)傷、兩性關(guān)系的對抗以及對東西方文化的審視；第二章是論述虹影小說敘事中的家庭倫理,以自傳體小說《饑餓的女兒》、《好兒女花》作為分析文本,從小說中親子、姐妹、夫妻三個最重要的倫理維度來探討,通過親子之倫的從叛逆到感恩,姐妹之倫的從矛盾到和解,夫妻倫理的從自由到安穩(wěn),得出虹影小說中的家庭倫理從最初的尖銳、偏激,逐漸向傳統(tǒng)的家庭倫理回歸。第三章是論述虹影小說中消解集體主義倫理的歷史敘事,《那年的田野》和《阿難》兩部小說中的歷史敘事都是對集體主義倫理的一種質(zhì)疑和消解,凸顯了鮮明的個體敘事視角�！犊兹傅慕泻啊穭t是通過當(dāng)代三峽工程和歷史上鎮(zhèn)壓反革命事件的兩條時空線索,對現(xiàn)代文明與歷史運動進(jìn)行了深刻的倫理反思。第四章是論述虹影小說中的個體主義倫理與民間敘事,探討虹影小說中“向上”與“向下”兩種苦難敘述,以及小人物的逃離與救贖的敘事模式。邊緣人物常常是虹影小說的主角,她熱衷對邊緣人物的描寫,關(guān)注民間,不僅關(guān)注底層人群生存的真實境遇,也關(guān)注邊緣人群的情感需求。小說是一種虛構(gòu)的藝術(shù),小說世界中的倫理道德也不等同于現(xiàn)實世界的倫理道德,虹影在她的小說中常常關(guān)注一些處于邊緣化的倫理空間,并不是對于傳統(tǒng)倫理的摒棄,只是通過建構(gòu)一些特別的、畸形的倫理空間,能夠更深入地探討兩性之間的矛盾與磨合,家庭之間的情感維護(hù),集體主義倫理、個體主義倫理在社會歷史進(jìn)程中占據(jù)的地位,以及對當(dāng)代人價值觀的影響,而最終的目的也都指向一個,那就是關(guān)注人類自身的生存境遇,關(guān)注個體的情感體驗,體現(xiàn)對人類的終極關(guān)懷。

    In contemporary Chinese language context, in his book Heavy Flesh, Liu Xiaofeng proposed the term "narrative ethics", believing that narrative ethics does not explore the general principles of life and the basic moral values that human life should follow, nor create logics for life feeling, but about the life stories of personal experience, through personal experienced narratives to present life feeling issues, construct the specific moral sense and ethical aspirations. Since then, many literary critics have begun to study the narrative ethics, through crossover study of narrative and ethics in Eastern and Western intellectual history to investigate narrative ethics as a new development road of ethical criticism, believing that the narrative ethics concerns individual ethical feelings, is a return to literary-based criticism.Hong Ying is a highly controversial writer in contemporary literary world, bold and alternative erotic writing style goes against the ethics in traditional novels. The exaggerated narrative technique and distorted ethics space, deep exploration of human nature in her novels are excellent cases for narrative ethics study. This paper takes Hong Ying’s novel as the research objects, starts with the four key words of sex, family, history, people in Hong Ying’s novel, uses research method of narrative ethics to explore a variety of possibilities of ethics in Hong Ying’s novel, makes analysis of reasons for the ethical formation space in Hong Ying’s novel.The full text is divided into four chapters:Chapter I discusses the diversity and openness of sexual ethics in Hong Ying’s novel, describes three common modes of love in Hong Ying’s novel:lesbian, May-December Romance, international love, through the analysis of these three love modes to explore the trauma of female gender, gender relations confrontation and the East-West culture examination;Chapter II discusses the narrative family ethics in Hong Ying’s novel, takes the autobiographical novels Hungary Daughter, Good Children of the flowers as the analysis texts, explores from parent-child, sisters, husband-wife the three most important ethical dimensions, from rebelling to grateful in parent-child love, from conflict to reconciliation in sisters love, from free to stable in husband-wife love, obtained that family ethics in Hong Ying’s novel regress from the initial sharp, extreme gradually to the traditional family ethics.ChapterⅢdiscusses the historical narrative of digestion collective ethics in Hong Ying’s novel, the historical narratives of The Field That Year and A Nan are questions and digestion of collective Ethical, highlights the distinctive individual narrative perspective, The Cry of the Peacock is through two space-time cues of the modern Three Gorges Project and the suppression of counter-revolutionary events in history to make a profound ethical reflection of modern civilization and historical movements.Chapter IVdiscusses the Individualism Ethics and Folk Narrative in Hong Ying’s novel, explores "Up" and "Down" miserable narratives in Hong Ying’s novel and narrative pattern of small potato escape and redemption. Marginal figures are often protagonists in Hong Ying’s novel. She is fond of description of marginal figures, concerning people, not only concerned about the real life situation of the underlying population, but also concerned about the emotional needs of marginalized groups.Novel is an art of fiction. Ethics in novel is not the same as ethics in the real world. In her novels, Hong Ying often concerned about the marginalized ethical space, not a rejection of traditional ethics, but by building something special, abnormal ethical space, to more deeply explore the contradiction and run-in between both sexes, position occupied by the maintenance of family feeling, collective ethics, ethical individualism in the social historical process, as well as its impact on contemporary human values. The ultimate goal also point to concerning about the living condition of human beings, concerning about the emotional experience of the individual, the ultimate expression of human concern.

虹影小說的敘事倫理

摘要3-5ABSTRACT5-7引言9-13第一章 多元開放的性倫理13-26    1.1 "女同性戀"與女性性別的創(chuàng)傷14-18    1.2 "忘年戀"與兩性關(guān)系的對抗18-21    1.3 "跨國戀"與東西方文化的審視21-26第二章 向傳統(tǒng)回歸的家庭倫理26-37    2.1 親子之倫:從叛逆到感恩27-30    2.2 姐妹之倫:從矛盾到和解30-33    2.3 夫妻倫理:從自由到安穩(wěn)33-37第三章 消解集體主義倫理的歷史敘事37-46    3.1 《那年的田野》、《阿難》:個體敘事視角的凸顯38-41    3.2 《孔雀的叫喊》:現(xiàn)代文明與歷史運動的倫理反思41-46第四章 個體主義倫理與民間敘事46-53    4.1 "向下"與"向上"的苦難敘述46-48    4.2 小人物的逃離和救贖48-53結(jié)語53-59參考文獻(xiàn)59-61附錄61-62后記62-64

  本文關(guān)鍵詞：虹影小說的敘事倫理，由筆耕文化傳播整理發(fā)布。