本文關(guān)鍵詞：1990年以來(lái)日華文學(xué)的敘事學(xué)研究　出處：《武漢大學(xué)》2014年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 日華文學(xué) 情欲敘事 圖像敘事 災(zāi)難敘事 他者敘事 邊緣敘事

【摘要】：基于20世紀(jì)90年代以來(lái)日華文學(xué)研究相對(duì)欠缺的事實(shí),本論文選擇了晚近二十多年來(lái)的日華文學(xué)為研究對(duì)象。在具體研究中,論文運(yùn)用結(jié)構(gòu)主義敘事學(xué)和后結(jié)構(gòu)主義敘事學(xué)理論,選擇以文學(xué)母題敘事作為切入這項(xiàng)研究的一個(gè)主要途徑,既從總體上梳理日華文學(xué)的發(fā)展實(shí)績(jī),也嘗試對(duì)其進(jìn)行深層次的敘事學(xué)角度上的解讀與分析。同時(shí),論文也運(yùn)用了權(quán)力、現(xiàn)代消費(fèi)、后殖民批評(píng)理論。這主要基于以下考量,日華文學(xué)作為華文文學(xué)的分支,它具備濃郁的跨國(guó)、跨文化的異質(zhì)背景,是一種極富“主體間性”的對(duì)象文本,它不僅反映著文本主體跨文化背景下的意識(shí)形態(tài)和權(quán)力關(guān)系配置,也顯示著文本母題敘事在特定時(shí)空背景下的復(fù)雜演繹。另外,意識(shí)形態(tài)的不同指向和權(quán)力的每一次配置都在一定程度上涉及到作為“他者”的日本和作為“自我”的主體之間的復(fù)雜粘連,基于文本內(nèi)涵和外延已經(jīng)釋放出的豐富的文化語(yǔ)境信息,只有將敘事學(xué)理論和權(quán)力等理論很好地結(jié)合起來(lái)才能展開對(duì)日華文學(xué)母題敘事的分析和研究。在以上理論的統(tǒng)一觀照視域下,論文將日華文學(xué)母題分為五個(gè)單元：情欲母題、圖像母題、災(zāi)難母題、他者母題、邊緣母題,根據(jù)每個(gè)母題在日華文學(xué)中的演變軌跡,論文從母題敘事的角度對(duì)其展開論述。這樣,論文共分為五章。 第一章是情欲敘事。日華文學(xué)是按照情欲的私人性、隱秘性和情欲的社會(huì)性、消費(fèi)性兩條邏輯展開敘事和描寫的。前者展現(xiàn)日華作家對(duì)“情欲”符號(hào)的形而上的無(wú)止境的探索,將目標(biāo)轉(zhuǎn)向了對(duì)情欲在個(gè)體生命中內(nèi)涵與意義的挖掘。后者則主要聚焦并展示現(xiàn)代消費(fèi)文化背景下情欲和權(quán)力等社會(huì)化元素之間的復(fù)雜勾連與彼此牽制,在這種背景下,情欲更多地是與權(quán)力、消費(fèi)達(dá)成了一種“合謀”。第二章是圖像敘事。它指涉著日華作家主體想象在異域時(shí)空中構(gòu)圖結(jié)構(gòu)的變化。日華作家在跨國(guó)、跨文化的背景下充分發(fā)揮主體“我思”的功能,對(duì)個(gè)體身處的不同的現(xiàn)實(shí)語(yǔ)境、個(gè)人歷史、個(gè)人記憶等進(jìn)行了不同程度的圖像式的建構(gòu),衍生了相似性想象、表現(xiàn)式想象等圖像生成模式,不同的想象方式完成了對(duì)作家日本經(jīng)驗(yàn)與中國(guó)經(jīng)驗(yàn)圖像的勾勒,最終匯聚成對(duì)日華作家主體圖像結(jié)構(gòu)的一種表呈。第三章是災(zāi)難敘事。這一章主要聚焦并挖掘日華文學(xué)災(zāi)難敘事的立場(chǎng)、敘事主題、敘事手法等,發(fā)掘日華文學(xué)災(zāi)難敘事形態(tài)和敘事立場(chǎng)的意義和價(jià)值。第四章從“他者”母題出發(fā),對(duì)日華文學(xué)中的“雙重他者”進(jìn)行了多層次的探討�？谌A文學(xué)的他者敘事集中表現(xiàn)在日本人、日本風(fēng)景、日本器物三個(gè)層面上。它們投射出主體對(duì)“他者”和“自我”關(guān)系的自覺思考。第五章是邊緣母題敘事。日華文學(xué)的邊緣敘事主要集中反映在邊緣人形象的建構(gòu)、邊緣敘事空間的建構(gòu)和邊緣敘事話語(yǔ)策略的使用上。邊緣敘事一方面凸顯在日中國(guó)人身份的尷尬與焦灼,另一方面也折射著儒家文化在現(xiàn)代消費(fèi)文化背景下的頹敗走勢(shì),更反映著后現(xiàn)代語(yǔ)境下新型的邊緣獨(dú)立知識(shí)群體的出現(xiàn)。從文學(xué)母題敘事角度出發(fā),論文對(duì)日華文學(xué)近二十多年的發(fā)展從縱向和橫向上都進(jìn)行了細(xì)致而又客觀的分析和闡釋,從而為日華文學(xué)研究做出了一些拋磚引玉的工作。
[Abstract]:Since 1990s the research literature based on the fact that the relative lack of China, this paper selected the recent more than 20 years of Japanese literature as the research object. In this dissertation, based on narratology of structuralism and post structuralism narrative theory to literary motif narrative as a main way of starting the study, not only from the the development of performance overall combing Rihua literature, also try to interpret and analyse its deep narrative angle. At the same time, the paper also uses the power of modern consumption, postcolonial criticism. This theory is mainly based on the following considerations, China as a branch of Chinese literature in the literature, it has strong multinational, heterogeneous cross cultural background, is a rich text object of "intersubjectivity", it not only reflects the main text under the background of cross cultural ideology and power relations also showed a configuration. The text of the narrative motif in complex interpretation of specific background. In addition, each time the configuration of different ideologies and power point to a certain extent related to the Japanese as "the other" and as "self adhesion complex" between subjects, rich cultural connotation and extension of the text context information has been released based on and only the narrative theory and power theory are well combined to analyze and study the Japanese literature narrative motif. A unified perspective on the above theory, the thesis will Japanese literary motif is divided into five units: the erotic image motif, motif, motif of disaster, the other edge according to the motif, motif, evolution track of each motif in Rihua in literature, from the perspective of the narrative motif is discussed. This paper is divided into five chapters.
The first chapter is the narrative of lust. Literature is in accordance with the personal desires nycca, social secrecy and lust, consuming two logical narration and description. The former shows endless exploration of "lust" writer Rihua metaphysical symbols, aiming to excavate connotation in the individual life and passion meaning. The latter mainly focused and show the social elements between lust and power of modern consumer culture under the background of complex collusion with each other, in this context, passion is more and power consumption, reached a "conspiracy". The second chapter is the image narrative. It refers to a Japanese writer imagine the structure change of composition in time. Japanese writers in foreign multinational, give full play to the main function of "I think" the cross-cultural background, the individual in different context, personal history, personal memory To construct image type in different degree, derived from the similarity of imagination, imagination, expression image generation mode, different imagination complete sketches of Japanese writers experience and experience Chinese image, a table is converged on the writer image structure Rihua pairs. The third chapter is the disaster narrative. The main focus of chapter and literature mining Rihua disaster narrative position, narrative theme, narrative techniques, explore the significance and value of literary narrative form and narrative Japanese disaster position. In the fourth chapter, from the "other" motif of the Japanese literature in the "double other" for a multi-level discussion. The other narrative literature in China focus on the performance of Japanese landscape in three aspects, Japanese, Japanese vessels. They projected out of the main "consciously thinking other" and "self" relationship. The fifth chapter is the edge of the narrative motif. Nycca The edge of narrative literature is mainly reflected in the construction of edge image, edge and edge of narrative space construction of narrative discourse strategies. On the one hand on the edge of narrative highlights in the Chinese identity embarrassment and anxiety, on the other hand also reflects the Confucian culture and consumer culture under the background of declining trend in the modern, more reflect a new edge in post modern context independent intellectual groups. Starting from the literature narrative point of view, the nearly more than 20 years of development China literature from the longitudinal and transverse directions are analyzed in detail and analysis and interpretation of objective, thus making some works as the research Japanese literature.

【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：I206.7

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