本文選題：《淚灑豆?jié)M江》　切入點：后理念性　出處：《延邊大學》2010年碩士論文　論文類型：學位論文

【摘要】： 朝鮮族移民題材長篇小說《苦難的年代》、《淚灑豆?jié)M江》、《間島傳說》等三部作品以共同的語言意識、歷史意識、現(xiàn)實主義意識作為根基,是一脈相承的文學作品。但因作者所處的社會環(huán)境的不同,《淚灑豆?jié)M江》在主題設定、人物設定、矛盾設定等方面與《苦難的年代》和《間島傳說》存在差異,現(xiàn)實意識方面也豁然不同。存在這種差異的根本原因可以歸結為社會背景。本論文將明確這一差異作為研究目的,以社會歷史批評和文學社會學批評為理論根基,結合后殖民主義和民俗學理論,研究長篇小說《淚灑豆?jié)M江》的敘事方向、理念選擇和傳統(tǒng)民俗再現(xiàn)等。 第一,長篇小說《淚灑豆?jié)M江》的敘事特點是,從外部層面作品將愛情矛盾放在主題中心,切斷許多具有緊迫性和敏感性的歷史問題,從內(nèi)部層面作品反映了民族矛盾和階級矛盾的真實性。 第二,從后理念觀點出發(fā),作者有意切斷了歷史時間和歷史事實。作品的時間界限是19世紀末到1910年代,反映了在這段時間朝鮮族移民開墾土地,建設家園的景象。也就是說小說是以民族文化學視角、民族心理學視角、民俗學視角貫穿全文,將重點放在發(fā)掘人間真實的生命欲望和潛意識上。 第三,從理念中解脫,即傾向于后理念性,就是削減作品的歷史性和現(xiàn)實性。作者在作品中有意切斷歷史現(xiàn)實,而致力把重點放在“民族的尋根”。在《淚灑豆?jié)M江》中,以通過貫穿全文的民族風俗和民族語言來完成“民族的尋根”。 綜上所述,《淚灑豆?jié)M江》中沒有把抵抗日本侵略放在桌面,也沒有將地主的欺壓與階級矛盾作為主線。作品關注的焦點的是扎根東北地區(qū)的朝鮮族移民的生存環(huán)境和生命意識,展現(xiàn)朝鮮族風土民情,民俗習慣,文化表現(xiàn)來尋覓民族整體性。這個整體性不是單純的排他,而是朝鮮族固有的文化情緒所承載的矜持,這種矜持恰恰是通往民族解放與發(fā)展的道路,因而該作品可以說是一個“守候民族身份認同”的敘事。
[Abstract]:The three novels of Korean immigrants, "the Age of misery", "tears and beans" and "the Legend of Jiandao", are based on the common sense of language, history and realism. But due to the different social environment in which the author lives, there are differences in theme setting, character setting, contradiction setting and so on between the author and the time of suffering and the Legend of Jiandao. The fundamental reason for the difference can be attributed to the social background. This paper takes this difference as the research purpose, taking the social historical criticism and literary sociological criticism as the theoretical foundation. Combined with post-colonialism and folklore theory, this paper studies the narrative direction, the choice of ideas and the reappearance of traditional folklore in the novel "tears and beans in Manjiang". First, the narrative characteristic of the novel "tears and beans" is that the external works put the contradiction of love at the center of the theme, cutting off many urgent and sensitive historical problems. From the internal level, the works reflect the authenticity of national contradiction and class contradiction. Second, from the point of view of post-concept, the author deliberately cut off the historical time and historical facts. The time limit of the works is from the end of 19th century to the 1910s, which reflects the period during which Korean immigrants reclaimed land. In other words, the novel runs through the full text from the perspective of national culture, national psychology and folklore, and focuses on discovering the real life desire and subconscious consciousness of human beings. Third, to liberate from ideas, that is, to tend to post-idealistic, is to reduce the historical and realistic nature of the work. The author intends to cut off the historical reality in his work, and instead focuses on "the search for the roots of the nation." Through the text of national customs and national language to complete the "national roots." To sum up, No resistance to Japanese aggression was put on the table in the tearful Manjiang. Nor does it take the oppressive and class contradictions of the landlords as the main line. The focus of the works is the living environment and life consciousness of Korean immigrants who have taken root in the Northeast region, showing the Korean people's customs and customs. Cultural expression seeks national integrity. This integrity is not simply exclusive, but rather the reserve of the Korean nationality's inherent cultural emotions, which is precisely the road to national liberation and development. Therefore, the work can be said to be a "waiting for national identity" narrative.
【學位授予單位】：延邊大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：K877.42

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