本文關(guān)鍵詞： 《平家物語》 覺一本 軍事小說 敘事學(xué)　出處：《吉林大學(xué)》2014年博士論文　論文類型：學(xué)位論文

【摘要】：《平家物語》是日本中世紀(jì)名作，講述了平安時(shí)代末期，貴族、武士、僧侶等各方勢(shì)力爭(zhēng)權(quán)奪霸、風(fēng)云動(dòng)蕩的歷史。全書時(shí)間跨度近百年，空間幾乎覆蓋整個(gè)日本列島，涉及上至天皇、貴族，下到百姓、歌女等眾多階層�！镀郊椅镎Z》不僅是軍事小說的代表作，就整個(gè)日本文學(xué)史而言，也是當(dāng)之無愧的杰作�！镀郊椅镎Z》之最大特色在于成書過程。伴隨著琵琶法師的彈唱，平家故事流傳于整個(gè)日本，成為能夠反映日本國(guó)民思想、備受日本國(guó)民追捧的文學(xué)作品，又被稱為“國(guó)民敘事詩(shī)”。后代的許多文學(xué)作品、戲劇、電影、電視、漫畫等取材于《平家物語》，足見其受喜愛的程度。 《平家物語》版本眾多，首先有兩大類：一被稱為讀本，主要供閱讀；二被稱為話本，主要供說唱。話本又根據(jù)有無〈灌頂卷〉分為：有〈灌頂卷〉之“一方流”諸本；無〈灌頂卷〉之“八坂流”諸本。流傳最廣、受眾最多的，當(dāng)屬“一方流”諸本中的覺一本。筆者選取了覺一本為研究對(duì)象：其一、覺一本在諸本中流傳最廣，能夠反映當(dāng)時(shí)日本民眾思想，能夠代表該作品的創(chuàng)作語境和接受語境；其二、覺一本成書較晚，有明顯的藝術(shù)加工痕跡，從敘事學(xué)之角度而言，擁有更高的藝術(shù)成就和研究?jī)r(jià)值。 日本對(duì)《平家物語》的研究起步較早，數(shù)量也很可觀，主要呈現(xiàn)以下特點(diǎn)：研究?jī)?nèi)容不斷細(xì)化，細(xì)致到某個(gè)人名、地名、語音的考證；跨學(xué)科領(lǐng)域的研究成果日益增多。中國(guó)對(duì)《平家物語》的認(rèn)識(shí)始于翻譯，近年來研究成果數(shù)量持續(xù)增長(zhǎng)。由于具備中國(guó)文化、文學(xué)的獨(dú)特優(yōu)勢(shì)，我國(guó)的研究者們自然地將視線聚焦于中日比較文學(xué)領(lǐng)域，進(jìn)行影響研究和比較研究。 本論文的研究，是以敘事學(xué)理論為支撐，以梳理《平家物語》所采用的敘事策略及其所取得的敘事功能為主體，以考察作者的主觀敘事意圖與作品的客觀敘事效果為核心，以解讀《平家物語》對(duì)中國(guó)文學(xué)原型的置換變形為旨趣。 在敘事體例領(lǐng)域，我們結(jié)合中國(guó)傳統(tǒng)文論，重在闡釋《平家物語》的敘事網(wǎng)絡(luò)，發(fā)掘中國(guó)的史傳傳統(tǒng)對(duì)《平家物語》敘事體例的影響。在《平家物語》中，編年體例貫穿全篇，以縱向的時(shí)間為線索，歷時(shí)性地?cái)⑹隽巳毡酒桨矔r(shí)代末期風(fēng)云際會(huì)的動(dòng)蕩歷史；紀(jì)傳體例交叉其間，以橫向的空間為線索，共時(shí)性地交代了歷史人物與歷史事件的前因后果；編年體與紀(jì)傳體的完美契合，形成了縱橫交錯(cuò)的網(wǎng)絡(luò)，共同構(gòu)筑出作品的敘事脈絡(luò)。 就敘事視角而言，我們發(fā)現(xiàn)《平家物語》交替使用了全知視角和變換式人物有限視角。時(shí)而采用全知視角，越界干涉敘事，或者隨意變換聚焦對(duì)象，或者任意透視人物內(nèi)心世界，印證了全知敘述者的全知全能。時(shí)而采用限知視角，將敘述眼光聚焦于次要出場(chǎng)人物，刻意隱瞞主角人物的真實(shí)身份，造成關(guān)鍵信息的留白，增強(qiáng)了作品的神秘感和吸引力。在《平家物語》內(nèi)部，全知視角和限知視角的不斷流動(dòng)、交替運(yùn)用，，創(chuàng)造出良好的敘事彈性機(jī)制，從而也獲得了新穎的藝術(shù)張力與審美意味。 從敘事結(jié)構(gòu)的角度來看，《平家物語》并沒有囿于敘事先后順序地僵化格局中，而是對(duì)歷史上的故事時(shí)間進(jìn)行了切割與重組，恰當(dāng)好處地采用了預(yù)敘、插敘、補(bǔ)敘、倒敘、分?jǐn)⒌葦⑹率址�，造成了時(shí)間倒錯(cuò)的敘述機(jī)制，構(gòu)建出富有層次的多維敘事時(shí)空。 敘事文體方面，覺一本中和歌、連歌、狂歌、歌謠等韻文體的運(yùn)用，不僅是敘事的需要，也是為了滿足敘述者、琵琶法師、乃至廣大讀者和聽眾的情感訴求。我們還發(fā)現(xiàn)《平家物語》中的很多歌謠均與佛教、神道教等宗教信仰、巫術(shù)等神秘現(xiàn)象密切相關(guān)。這既反映出當(dāng)時(shí)的日本民眾普遍敬畏神佛、鬼魂，希望借助歌舞表演等形式取悅神佛，安撫亡靈；也從另一個(gè)角度折射出佛教、神道教、巫術(shù)等為了獲得廣泛的群眾支持，也借助了歌謠的形式。 敘事話語領(lǐng)域，作者的敘事話語，與出場(chǎng)人物的敘事話語的變化轉(zhuǎn)換，不但可以調(diào)節(jié)敘述速度，還可以調(diào)節(jié)敘述者、出場(chǎng)人物與受眾之間的關(guān)系�！镀郊椅镎Z》作品內(nèi)部充滿了人物與人物之間、集團(tuán)與集團(tuán)之間的對(duì)話與交鋒，但敘述者對(duì)于他們之間的矛盾沖突并未給出明確評(píng)判，這鮮明地體現(xiàn)出眾聲喧嘩的“復(fù)調(diào)”特征。由此可見，《平家物語》并非由單一的儒家倫理觀念所支配，也不是片面地強(qiáng)調(diào)神佛的權(quán)威性，而是讓道、佛以及其他意識(shí)形態(tài)之間形成對(duì)話關(guān)系，并在這個(gè)對(duì)話過程中形成眾聲喧嘩的場(chǎng)面。 就敘事手法與人物形象而言，類比法、對(duì)比法、襯托法等各有千秋，又都服務(wù)于《平家物語》的整體框架。類比手法的運(yùn)用，使得出場(chǎng)人物、出場(chǎng)團(tuán)體的命運(yùn)兩兩相應(yīng)，相得益彰，既節(jié)省了筆墨，又在無形之中放大了他們的性格特點(diǎn)和命運(yùn)特征。對(duì)比手法的運(yùn)用，不僅突出了人物的典型性格特征，彰顯了作者的褒貶之意，還渲染了作品的悲劇色彩。襯托手法可以更大限度地透視人物的內(nèi)心世界，烘托主角的非同尋常。圓形人物形象飽滿而逼真，扁平人物形象性格突出；在《平家物語》中互為襯托與關(guān)照，共同表現(xiàn)出歷史轉(zhuǎn)型期的社會(huì)萬象。 敘事文本與主題方面，借助文學(xué)原型理論，我們可以發(fā)現(xiàn)：《平家物語》與中國(guó)文學(xué)之間存在的相互指涉關(guān)系，但與此同時(shí)，作者又在潛移默化中對(duì)中國(guó)文學(xué)原型進(jìn)行了置換變形，使之更符合日本的“正統(tǒng)觀”�！镀郊椅镎Z》是一部反映社會(huì)轉(zhuǎn)型期動(dòng)蕩歷史的時(shí)代畫卷；正是多位立場(chǎng)不同、階層各異、經(jīng)歷有別的作者和講述者的參與，才在不同程度上添加或者渲染了他們各自的思想主張，共同為《平家物語》編織了一張多綜復(fù)雜的主題網(wǎng)絡(luò)。 綜上所述，敘事學(xué)視域中的《平家物語》，涵蓋敘事體例、敘事視角、敘事結(jié)構(gòu)、敘事文體、敘事話語等諸多敘事策略。它們共同服務(wù)于《平家物語》的整體結(jié)構(gòu)，提升了作品的藝術(shù)張力，渲染了作品的悲劇氛圍。 其次，覺一本所取得的良好敘事效果，體現(xiàn)了作者在謀篇布局方面的匠心獨(dú)運(yùn)。但在某些方面，作者的主觀敘事意圖、與作品呈現(xiàn)的客觀敘事效果之間也存在著偏差，從而使得人物形象存在錯(cuò)綜矛盾的多面性，比如平清盛、平重盛的人物形象。這反映出《平家物語》并非完成于一人之手，而是成書于不同立場(chǎng)的講述者、傳播者。所以，作品的敘述呈現(xiàn)出多義性、多面性。 再次，《平家物語》雖然受到了中國(guó)文學(xué)的諸多影響，但并非單純地照搬或模仿，而是于微妙之處改變了中國(guó)文學(xué)原型的所指。筆者認(rèn)為這正是日本民族集體無意識(shí)的深層體現(xiàn)：中國(guó)正統(tǒng)論觀念傳入日本后便受到揚(yáng)棄，其中改朝換代的因素完全摒除。因此，《平家物語》對(duì)“烽火戲諸侯”、“荊柯刺秦”等中國(guó)文學(xué)原型進(jìn)行了置換變形，賦予其新的解釋，使之更符合日本當(dāng)時(shí)被視為“正統(tǒng)觀”的神國(guó)思想。
[Abstract]:< > is the Japanese medieval story of the ping's masterpiece, tells the story of the end of the era of peace, nobles, warriors, monks and other factions jockeying for hegemony, Fengyun turbulent history. The time span of nearly a hundred years of space, covering almost the entire Japanese islands, involving to the emperor, nobles, down to the people, and many other classes. AlMe heik story > is not only a representative military novel, throughout the history of Japanese literature, the biggest feature. The story of the ping's masterpiece > is lies in the process of the book fully deserve. Accompanied by the pipa master and Ping's story spread in the whole of Japan, be able to reflect the Japanese national ideology, highly sought after Japanese national literature works, also known as the "national epic". Many works of literature, film, TV drama offspring, and comic books based on the story of the ping's < >, which shows the popular degree.
< > heik story version of the first two categories: one is called the reader, mainly for reading; two is called vernacular, mainly for vernacular and rap. According to whether the "volume" initiations are divided into: "initiation" roll "party" the free volume "initiation;" the "eight ban flow". The most widely circulated, most of the audience, is "one flow" in the sense of a book. The author selected a sensation as the object of study: first, in the sense of one of the most widely circulated, can reflect the thoughts of the people of Japan, can on behalf of the literary context and the reception context; second, the book sleep late, there are obvious signs of art processing, from the perspective of narratology, with artistic achievement and value of higher.
The < heik story > research started earlier in Japan, the number is also very impressive, mainly has the following characteristics: the research content is constantly refined, meticulous to a personal name, place name, voice and textual research; research interdisciplinary field increased. Understanding of the story of the ping's < > Chinese in translation, the number of research continues growth in recent years. Because of its unique advantages of Chinese culture, literature, researchers in China are naturally attention will be focused on in the field of comparative literature, influence research and comparative research.
The research of this paper is using the narrative theory, summarizes the "story of the ping's > the narrative strategy and the narrative function as the main body, objective narrative effect on subjective narrative author's intention and works as the core, to interpret < heik story > Chinese replacement on Literary Prototype deformation for the purpose.
In the field of narrative style, we combine the Chinese traditional literary theory, focusing on the interpretation of the story of the ping's < > narrative network, explore the history of traditional Chinese < heik story > narrative style influence. In the story of the ping's < >, chronological cases throughout the film, from the longitudinal time as a clue, diachronic description the turbulent history at the end of the meeting of wind and clouds in Heian Japan; biographical style cross during the horizontal space as the clue, synchronic account of historical figures and historical events and the history of annalistic style antecedents and consequences; perfect fit, form a network to construct arranged in a crisscross pattern, the narrative context.
On the narrative perspective, we find that the < heik story > alternates omniscient point of view and transform characters with limited view. Sometimes the omniscient perspective, cross-border interference narrative, or to transform the object of focus, or any perspective on the inner world of characters, confirms the narrator's time. The limited perspective omniscient and omnipotent, will focus on the narrative perspective minor characters, deliberately conceal the true identity of the protagonists, caused by the key information space, enhance the sense of mystery works and the attraction. In the story of the ping's < >, omniscient perspective and limited perspective by alternating the constant flow, to create a narrative elastic mechanism of good, and also won the artistic and aesthetic tension that novel.
From the perspective of narrative structure, "story of the ping's > is not bound by order to rigid narrative pattern, but the story time in the history of cutting and recombination, appropriate to the benefits of adopting the pre Syria, chaxu flashbacks, Syria, supplemented, divided into narrative techniques, resulting in the narrative mechanism of anachrony and construct the multi-dimensional narrative time and space rich layers.
The narrative style, and feel a song, song, song, with songs rhyme style, narrative is not only the need, but also to meet the narrator, Pipa master, emotional appeal and the majority of readers and listeners. We also found that many songs < heik story > both Shinto and Buddhism, etc. religion, witchcraft and other mysterious phenomena are closely related. This not only reflects the Japanese people generally fear of deities, ghosts, hoping to dance performances and other forms to please the Lord Buddha, to appease the dead; from another point of view reflects Buddhism, Shinto, witchcraft and so on in order to gain wide public support, with the help of songs form.
The field of narrative discourse, the author's narrative discourse and narrative discourse, changing the characters, not only can adjust the narrative speed, but also can adjust the appearance of the narrator, between the internal relationship between the characters and the audience. Heik story > works is full of characters and characters, dialogue and confrontation between the group and the group, but the narrator for contradiction the conflict between them did not give a clear judgment, which clearly reflect clamors of "polyphony" features. Thus, < heik story > is not dominated by Confucian ethics is not a single, one-sided emphasis on the authority of God, but out of the way, the formation of dialogue relationship between Buddhism and other ideologies, and the the noise scene formed in the dialogue process.
On the narrative and characters, analogy method, comparison method, method of overall framework against each one has its own merits, and serve the < heik story >. By analogy, the characters, on the fate of the group 22, complement each other, not only saves ink, and amplifies the characteristics and features of their fate in the invisible. The use of the contrast, not only highlights the typical characters, reveals the author's judgments of Italy, also rendered the works of tragedy. Against manipulation to a greater extent perspective figures of the inner world of the main characters. The characters full of extraordinary round and vivid, flat characters personality; in the story of the ping's < >, set off each other and care, together to demonstrate the historical transition of the social Vientiane.
Narrative text and theme, with the help of literature archetype theory, we can find that: "between heik story and China > literature refers to the relationship between each other, but at the same time, the author also imperceptibly to China Literary Prototype of displacement and deformation, which is more consistent with Japan's" orthodox view "is the story of the ping's >. A reflection of social transition turbulent history era is a picture; a different position, different class, experience is another author and narrator in addition in different degrees or render their ideas with each other, together for the story of the ping's < > weave a more complex network.
In summary, the narrative from the perspective of "Ping's story", covering narrative style, narrative perspective, narrative structure, narrative style, narrative and other narrative strategies. The overall structure of their common services in the < heik story >, enhance the artistic charm, rendering the tragic atmosphere.
Secondly, feel good effect obtained a narrative, reflecting the author's imaginative in writing. But in some respects, subjective narration of the author's intention, and between the work presented the objective narrative effect also exists deviation, so that the characters are multi-faceted, intricate contradictions such as Ping Sheng heavy Taira Kiyomori. Characters. This reflects the < heik story > is not completed in the hands of one person, but a book in the different positions of the narrator, spread. So, the narrative shows ambiguity, multi-faceted.
Again, < heik story > despite many influence China literature, but not simply copy or imitate, but in subtle changes China literary archetype refers to. I think this is the embodiment of the Japanese national collective unconsciousness: China orthodox theory was introduced into Japan by abandoning the concept of the change dynasties. The factors are completely removed. Therefore, < heik story > to play war lords, "Jing Ke Qin" China Literary Prototype of displacement and deformation, give it a new interpretation, to make it more in line with Japan was regarded as "orthodoxy" thoughts of God.

【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：I313.074

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