本文關(guān)鍵詞：論藏文化語境中阿來的小說創(chuàng)作，由筆耕文化傳播整理發(fā)布。

        在歷史的今天，，當以全球化為號召在軌道上前行時，我們的生活方式便趨于模式化和物質(zhì)化，生活審美空間和心靈自由度受到前所未有的擠壓。因此在全球化的時代，每個地區(qū)的民族性與地域性便更加顯現(xiàn)出來。文學(xué)不僅受自然環(huán)境的影響，包括氣候、地理環(huán)境等，還會受一個地區(qū)長期歷史積淀形成的人文環(huán)境影響，所以說文學(xué)受地域文化的影響是多方面、整體性、綜合性的。阿來對川西高原獨特風(fēng)貌和人俗風(fēng)情的書寫，作為地域文化的代表，便成為一道奇異的風(fēng)景，地域文化對作家的影響是漫長而且復(fù)雜的。本文會加深我們對川西藏族地區(qū)乃至整個藏民族區(qū)域的文化特質(zhì)的認識。本論文的研究目標在作家的創(chuàng)作實踐和地域文化之間是建立一種聯(lián)系，從多維視角透視作家、解析文本。本文以雪域文化作為背景，考察藏文化語境中阿來的創(chuàng)作。本文在引言中論述了阿來的創(chuàng)作概述，文學(xué)界對阿來創(chuàng)作的研究現(xiàn)狀，本文的研究思路。第一章：論述阿來獨特的創(chuàng)作風(fēng)格。雪域文化具有濃厚的歷史性，造就了阿來創(chuàng)作風(fēng)格的“史”性；同時，這里又充滿了神秘性和詩情畫意的特質(zhì)，造就了他創(chuàng)作風(fēng)格的“詩”性。正是厚重歷史性與神秘詩性從而使得阿來的創(chuàng)作在“史”與“詩”之間找到了一個契合點，這種創(chuàng)作風(fēng)格獨特性的成因除了阿來自身的文學(xué)素養(yǎng)之外，從宏觀意義上是因為受藏文化語境的影響，一方面歷史深厚，一方面神秘魔幻。在詩性語言描述厚重歷史神秘形象的背后，演繹的是作者的歷史觀。阿來對待歷史的態(tài)度，是新歷史主義的態(tài)度，絕不僅僅是史詩化的贊頌。這種對待歷史的態(tài)度是創(chuàng)作風(fēng)格的演繹。在“史”與“詩”之間，作家以邊緣化的創(chuàng)作素材和科學(xué)的歷史觀對嘉絨地區(qū)文明及傳統(tǒng)文化進行反思追尋。第二章：論述阿來純真的審美境界，因為在詩性與史性之間的創(chuàng)作風(fēng)格，造就了阿來的審美境界的獨特性。一方面阿來為我們呈現(xiàn)了嘉絨地區(qū)原本的美好淳樸，另一方面呈現(xiàn)了在現(xiàn)代化進程中，對故鄉(xiāng)文明中對落后因素的反思。這種對于家鄉(xiāng)的感情，讓阿來始終處于兩難境地。他時刻處于離開家鄉(xiāng)而又思念家鄉(xiāng)的狀態(tài)。本章主要分析闡釋阿來的“兩難情結(jié)”，包括反思批判和認同皈依，他用矛盾的手法巧妙了給我們呈現(xiàn)了一個微妙復(fù)雜的嘉絨藏族世界。第三章：論述阿來創(chuàng)作的精神淵源。由獨特的創(chuàng)作風(fēng)格和純真的審美境界出發(fā)，從深層次分析阿來這種獨特創(chuàng)作的精神淵源，這種精神淵源包括自然資源的孕育和人文因素的熏陶兩個層面，為阿來的寫作提供背景資料。阿來出生藏區(qū)和中原的雙重邊緣地帶，特殊的自然地理和人文地理潛在地影響了作家對地理文化地自覺吸收。其次，民間資源的熏陶、豐富的宗教世界、三重文化等多種人文因素，都與阿來的創(chuàng)作建立了一種內(nèi)在聯(lián)系。結(jié)語：在縱向上與前代其他少數(shù)民族作家、在橫向上與同一時代藏族作家比較，總結(jié)全文，論述了在當代阿來的創(chuàng)作立場和創(chuàng)作態(tài)度。

    when globalization as the call of period leads us to go forward on the way, our lifestylegets single and material. Life aesthetic space becomes narrow, the freedom of our hearts thebiggest suffer extrusion. So in the period of globalization, the nationality and regional of everyarea gets more and more prominent. The author, as the construction of human spirit home,should bear the responsibility.The writing of the unique Tibet style beomes a wonderfulscenery. This paper try to establish a connection between the literary creation and the Tibetculture. From multidimensional perspective,we can understand author better and analyzes thetext more clearly. On the context of Tibet culture,I try to investigate the author’s literarycreation.Except Introduction and conclusion in this paper, there are three chapters in total.The introduction introduces literary creation of A Lai, research status of his articles and themethod of research.Chapter One analyzes his unique creation style. Great national history makes the articleshave major historic significance. At the same time, this is full of mystery place. Thischaracteristic makes his articles very poetic. In the back, the deduction is his conception ofhistory. He evaluates history in modern eyes always, not always praise history deeply.However, he evaluates history very objectively and justice to critic or identify.Chapter Two analyzes the aesthetic realm about A Lai. Because he presents the scene “beautyand sadness of hometown”. He always in the state of “out of hometown but miss hometowndeeply”. I analyze the complex of dilemma: reflection on the national culture, identification onthe national self-esteem. A Lai use his complex brush strokes to performance a complex worldfor us.Chapter Three analyzes the root of his spirit about his literary creation. This chapter iscomposed of natural resources, folk resources, the world of religions, the effects of variety ofculture.These data provides the background information to the study of the connection betweenthe literary creation and the Tibet culture. A Lai was born in double edge strip between Tibet and Central Plains.The special natural geography and human geography provides richinformation for his literary creation. This is a region of an oral history, everybody is aparticipants in history here.All these resources establish a connection between the literarycreation and nation and history. In addition, two religions of Bon and Buddhism, three cultureof Western, Central Plains and Tibet culture help him to creat articles.In the end, to the prior generation of minority writers in longitudinal direction, to the samegeneration of Tibetan writers in the horizontal direction. Finally, Summarize the paper andgeneralize the writing position of A Lai.

論藏文化語境中阿來的小說創(chuàng)作

中文摘要5-7Abstract7-8引言9-12第一章 獨特的創(chuàng)作風(fēng)格：在“史”與“詩”之間12-22    第一節(jié) 對藏文化“史性”的理性思考13-16        一、 嘉絨藏族發(fā)展史的歷時性思考13-14        二、 對土司制度的理性反思14-16    第二節(jié) 對藏文化“詩性”的自由表達16-22        一、 獨特地貌文化的執(zhí)著書寫16-17        二、 對民俗風(fēng)土的詩性表意17-22第二章 純真的審美境界：走出故鄉(xiāng)而深刻懷鄉(xiāng)22-34    第一節(jié) 反思藏文化的自覺意識22-26    第二節(jié) 認同藏文化的情感自尊26-29    第三節(jié) 追尋藏文化的精神原鄉(xiāng)29-34第三章 阿來創(chuàng)作的精神淵源34-41    第一節(jié) 自然環(huán)境孕育的審美氣質(zhì)34-35    第二節(jié) 人文因素熏陶的美學(xué)特征35-41結(jié)語41-43注釋43-46參考文獻46-53本人攻讀碩士學(xué)位期間發(fā)表科研論文53-54致謝54

  本文關(guān)鍵詞：論藏文化語境中阿來的小說創(chuàng)作，由筆耕文化傳播整理發(fā)布。