發(fā)布時(shí)間：2018-06-13 03:43

  本文選題：諷刺效果 + 比較文學(xué)��； 參考：《中央民族大學(xué)》2016年博士論文

【摘要】：本論文中,中韓現(xiàn)代諷刺小說(shuō)指的是1917年至1949年(中國(guó))和1910年至1945年(韓國(guó))這一歷史時(shí)期的諷刺小說(shuō)。對(duì)中國(guó)和韓國(guó)來(lái)說(shuō),這是一個(gè)野蠻與文明、邪惡與正義、黑暗與光明互相對(duì)峙、斗爭(zhēng)的特定的歷史時(shí)期。面對(duì)這樣的社會(huì)現(xiàn)實(shí)中韓現(xiàn)代諷刺作家拿起筆來(lái),以自己的方式,同國(guó)內(nèi)外反動(dòng)統(tǒng)治者和頑固的封建主義展開(kāi)了殊死的博戰(zhàn)。在這特殊的歷史時(shí)期,中韓現(xiàn)代諷刺文學(xué)根植于各自國(guó)家的古代諷刺文學(xué)土壤,接受外來(lái)諷刺文學(xué)的理論、題材和表現(xiàn)方法,取得了無(wú)愧于時(shí)代的出色成就。本論文運(yùn)用西方及中韓兩國(guó)的現(xiàn)代諷刺理論,以中韓兩國(guó)的傳統(tǒng)諷刺藝術(shù)為參照,對(duì)中韓諷刺小說(shuō)的發(fā)展歷程、思想蘊(yùn)含、敘事技巧、美學(xué)特征等作了全方位解剖,以期對(duì)中韓現(xiàn)代諷刺小說(shuō)有一個(gè)比較客觀而全面的認(rèn)識(shí)。本論文主要由以下幾個(gè)部分組成：緒論中首先對(duì)諷刺和諷刺小說(shuō)的概念及其特點(diǎn)進(jìn)行了闡釋,然后對(duì)本論文的選題意義、現(xiàn)行研究、研究范圍和研究方法做了闡述。第一章主要闡明了中韓現(xiàn)代諷刺小說(shuō)蓬勃發(fā)展的原因及其發(fā)展情況。中韓現(xiàn)代諷刺小說(shuō)的有三個(gè)源頭：源遠(yuǎn)流長(zhǎng)的古代諷刺文學(xué)和豐富多彩的民間諷刺文學(xué),異彩紛呈的外國(guó)諷刺文學(xué),內(nèi)憂外患的特殊歷史環(huán)境。首先,回顧了兩國(guó)古代諷刺文學(xué)的發(fā)展歷程,探討了中韓現(xiàn)代諷刺小說(shuō)對(duì)傳統(tǒng)文化藝術(shù)的繼承情況。韓國(guó)現(xiàn)代諷刺小說(shuō)在語(yǔ)言特色、人物描寫(xiě)、塑造形象等方面繼承了韓國(guó)古典口傳小說(shuō)、假面劇、板索里(說(shuō)唱)劇等傳統(tǒng)藝術(shù)的文化精髓和文化底蘊(yùn)；中國(guó)現(xiàn)代諷刺小說(shuō)也繼承了傳統(tǒng)的口傳文學(xué)、講唱文學(xué)、古典小說(shuō)以及相聲等中國(guó)傳統(tǒng)藝術(shù)特有的文學(xué)趣味和藝術(shù)手法。中韓現(xiàn)代諷刺小說(shuō)在敘事技巧,即故事情節(jié)的表現(xiàn)方式、通俗語(yǔ)言的詼諧表達(dá)、人物描寫(xiě)的夸張、戲擬等手法上具有共性,這源于兩國(guó)在傳統(tǒng)藝術(shù)的共性及兩國(guó)作家對(duì)本國(guó)傳統(tǒng)文學(xué)藝術(shù)的傳承。然而傳承的具體過(guò)程和方法上的不同,也是兩國(guó)現(xiàn)代諷刺小說(shuō)存在差異的原因之一。其次,這個(gè)時(shí)期,中韓兩國(guó)進(jìn)行了大量外國(guó)諷刺作品和理論文獻(xiàn)的譯介工作,這與兩國(guó)現(xiàn)代諷刺文學(xué)的蓬勃發(fā)展是密不可分的。如魯迅翻譯了廚川白村的《除了象牙之塔》和鶴見(jiàn)yP輔的雜文集《思想·山水·人物》；周作人評(píng)價(jià)的日本諷刺詩(shī)、希臘洛斯留吉的諷刺詩(shī)、英國(guó)著名諷刺作家斯威夫德的散文《婢仆須知》、日本狂言喜劇《立春》等。在韓國(guó),崔載瑞在朝鮮日?qǐng)?bào)介紹了阿道司·赫胥黎的諷刺理論并根據(jù)他的理論在韓國(guó)文學(xué)上史上第一次出版了諷刺理論著作《諷刺文學(xué)論》；韓植介紹了果戈理等俄羅斯小說(shuō)家的諷刺小說(shuō)并在東亞日?qǐng)?bào)發(fā)表了《諷刺文學(xué)論》等評(píng)論,提出了諷刺的概念。這些都極大的影響了中韓兩國(guó)現(xiàn)代諷刺文學(xué)的創(chuàng)作。最后,對(duì)這一時(shí)期的歷史背景和中韓現(xiàn)代諷刺小說(shuō)演進(jìn)的輪廓進(jìn)行了闡述�，F(xiàn)代中國(guó)和韓國(guó),是社會(huì)最嚴(yán)酷最黑暗的年代,野蠻與文明、邪惡與正義、黑暗與光明互相對(duì)峙、斗爭(zhēng)。這兩樣的歷史背景,給中韓現(xiàn)代諷刺小說(shuō)的蓬勃發(fā)展提供了歷史舞臺(tái)。這一時(shí)期諷刺小說(shuō)的大量出現(xiàn),是當(dāng)代作家們對(duì)這些混亂局勢(shì)的認(rèn)識(shí)和文學(xué)應(yīng)對(duì)的結(jié)果。第二章重點(diǎn)論述了中韓現(xiàn)代諷刺小說(shuō)的多重主題。面對(duì)國(guó)內(nèi)外危機(jī)重重、民不聊生的黑暗社會(huì),兩國(guó)諷刺小說(shuō)家門(mén)毫不猶豫的拿起了筆,揭露了現(xiàn)實(shí)生活中的各種矛盾,揭示生活中形形色色的人物,特別是撥開(kāi)一些人物的虛偽假面,揭穿他們的內(nèi)心實(shí)質(zhì),同時(shí)也表現(xiàn)了受壓迫人民是怎樣在苦難中掙扎和斗爭(zhēng)的。首先,社會(huì)上的種種矛盾和黑暗,都是當(dāng)時(shí)統(tǒng)治制度的必然產(chǎn)物,要消滅這個(gè)黑暗,就得根本推翻那個(gè)黑暗的制度本身。因此,中韓兩國(guó)的諷刺作家們首先把批判的矛頭指向了當(dāng)時(shí)的社會(huì)政治制度,對(duì)殖民地半殖民地的當(dāng)時(shí)社會(huì)歷史背景下活躍著的官僚、政客、知識(shí)分子、市儈、騙子和小丑們,進(jìn)行了無(wú)情的揭露與打擊,讓他們無(wú)處存身。其次,現(xiàn)代的中韓兩國(guó)經(jīng)歷推陳布新的“五四”新文化運(yùn)動(dòng)和“開(kāi)化期運(yùn)動(dòng)”以后,開(kāi)啟了一場(chǎng)深刻的社會(huì)思想、文化變革。因此,一些所謂“新派人物”們否定傳統(tǒng)文化,主張“重估一切價(jià)值”,要求大量引進(jìn)西方文化,甚至于“全盤(pán)西化”。實(shí)際的情形要遠(yuǎn)為復(fù)雜,對(duì)文化的接受與汲取也并非壁壘分明,一些人是把兩種文化相摻和,雜糅新舊,但是其中的“新”的僅僅只是新文化的皮相,他們只學(xué)習(xí)西方人的物質(zhì)享受、行為方式,西方文明的核心精神和“科學(xué)”、“民主”、“平等”、“競(jìng)爭(zhēng)”等西方文明的精髓他們卻沒(méi)有學(xué)到。他們學(xué)到的知識(shí)一些帶洋味的萬(wàn)事荒唐的手段,片面追求西方生活方式。中韓兩國(guó)作家通過(guò)對(duì)他們的婚姻、戀愛(ài)生活的描寫(xiě)展示出其似新實(shí)舊的虛偽丑陋的一面。最后,這一時(shí)期的中韓作家們,具有高度的人本意思,也都注意在作品中反映真實(shí)的人性。就20世紀(jì)的世界文學(xué)來(lái)看,“向內(nèi)轉(zhuǎn)”是文學(xué)發(fā)展的潮流,從對(duì)人的外部描寫(xiě)走向描寫(xiě)人的心靈、真實(shí)的人性,把藝術(shù)的觸角伸向人性隱秘的一角,豐富了文學(xué)中的人性描寫(xiě)�，F(xiàn)代以來(lái),中韓兩國(guó)思想界、文化界的先驅(qū)者們對(duì)人性問(wèn)題非常關(guān)注,并把提高國(guó)人的人性作為社會(huì)進(jìn)步發(fā)展的一個(gè)關(guān)鍵性問(wèn)題。于是,兩國(guó)的作家們關(guān)注各個(gè)階層人物身上的人性的普泛性,尤其是“惡”的一面,以人性的扭曲和變異折射出時(shí)代與社會(huì)的變遷。中韓現(xiàn)代小說(shuō)的諷刺,融政治諷刺、道德諷刺、世態(tài)諷刺與人性諷刺于一體,全面而深入地暴露和諷刺了20世紀(jì)上半葉中韓兩國(guó)的黑暗、腐朽的社會(huì)現(xiàn)實(shí)。第三章研究了中韓現(xiàn)代諷刺小說(shuō)的創(chuàng)作技巧與諷刺效果。第一節(jié)探討了諷刺小說(shuō)的敘事方法。諷刺小說(shuō)以批判和矯正現(xiàn)實(shí)社會(huì)為其目的,而諷刺小說(shuō)對(duì)諷刺對(duì)象的批判和攻擊又是迂回和間接的。為了巧妙地吸引讀者的注意力,向讀者傳遞作家的意圖和主題并說(shuō)服讀者,諷刺小說(shuō)就需要用獨(dú)特的技法與讀者進(jìn)行溝通,而這一技法就是敘事方法。敘事方法可分為三大類(lèi)型。第一種類(lèi)型是調(diào)整敘事距離。通過(guò)調(diào)節(jié)隱含作家與敘述人的距離或敘述人與隱含讀者之間的距離,改變讀者對(duì)諷刺對(duì)象的態(tài)度,提高諷刺效果。當(dāng)隱含作家與敘述人的敘事距離近的時(shí)候,可以讓讀者對(duì)敘述人的態(tài)度產(chǎn)生共鳴；當(dāng)敘事距離遠(yuǎn)的時(shí)候,可以讓讀者對(duì)敘述人采取客觀而又批判性的態(tài)度。第二種類(lèi)型是使用口述性敘事�？谑鲂哉�?wù)撝敢匀粘？谡Z(yǔ)的形式與社會(huì)各文化階層的現(xiàn)實(shí)讀者進(jìn)行對(duì)話。口述性談?wù)撌褂玫氖亲x者們熟悉的套話,注解敘事等方法,可以比較容易的讓讀者對(duì)作者意圖產(chǎn)生共鳴,從而達(dá)到了諷刺效果。第三種類(lèi)型是加強(qiáng)對(duì)話。為了實(shí)現(xiàn)有效的表達(dá),采用口述故事的方式或引用日常對(duì)話的方式與讀者進(jìn)行交流。諷刺小說(shuō)的敘事方法歸根結(jié)底是將諷刺對(duì)象與諷刺目的不明示于文章中的情況下,為說(shuō)服讀者做貢獻(xiàn)。第二節(jié),對(duì)諷刺修辭方法進(jìn)行探討。諷刺修辭指的是作者調(diào)動(dòng)語(yǔ)言手段造成諷刺效果的方法。利用諷刺修辭構(gòu)成的諷刺圖景(或情感)往往是不假思索,一望即知的,故稱之為直觀諷刺構(gòu)圖。中韓現(xiàn)代諷刺小說(shuō)中有許多諷刺修辭手法,本小節(jié)中擇其要者,如戲擬,反諷,滑稽模仿,夸張,比喻,曲解,比擬等,進(jìn)行探討。第四章中韓諷刺小說(shuō)的審美風(fēng)格。首先,通過(guò)對(duì)中韓悲劇性諷刺小說(shuō)的分析,探討了悲劇性諷刺小說(shuō)中悲劇美的表現(xiàn)形態(tài)、情感模式、美學(xué)風(fēng)格。接著,對(duì)中韓喜劇性諷刺小說(shuō)的表現(xiàn)形態(tài)、情感模式及美學(xué)風(fēng)格進(jìn)行了探討。然后,根據(jù)丑的理論,探討了“丑”作為一種特殊的美學(xué)形態(tài),在中韓現(xiàn)代諷刺小說(shuō)中的表現(xiàn)及其藝術(shù)價(jià)值。中韓現(xiàn)代小說(shuō)里出現(xiàn)大量關(guān)于“丑”的描寫(xiě),而諷刺小說(shuō)中“審丑”是諷刺作家看待世界的一種獨(dú)特的方式之一,起到諷刺作家與現(xiàn)實(shí)世界之間美學(xué)聯(lián)系的作用。首先,對(duì)“丑”和其在中韓現(xiàn)代諷刺小說(shuō)中的表現(xiàn)進(jìn)行了研究。依據(jù)羅森克蘭茨(Rosenkranz)對(duì)“丑”的理論,丑分為自然的丑、外形的丑、精神的丑及藝術(shù)的丑四種,本節(jié)中具體查看了前三種形態(tài)的“丑”在中韓現(xiàn)代諷刺小說(shuō)中是如果演變成藝術(shù)的丑,并探討了藝術(shù)丑的審美價(jià)值。最后,總結(jié)了中韓現(xiàn)代諷刺小說(shuō)的在藝術(shù)風(fēng)格上的異同點(diǎn)。
[Abstract]:In this paper, Chinese and Korean modern satire refers to the satirical novels of the historical period from 1917 to 1949 (China) and 1910 to 1945 (Korea). For China and South Korea, this is a period of barbarism and civilization, evil and justice, the confrontation between darkness and light, and the specific historical period of the struggle. In this special historical period, the Chinese and Korean Modern Satirical Literature was rooted in the ancient satirical literary soil of their own countries and accepted the theories, themes and methods of expression of foreign satire in this special historical period. With the modern satire theory of the West and China and South Korea, this paper, taking the traditional satirical art of China and South Korea as the reference, makes an omni-directional anatomy of the development course, ideological implication, narrative techniques and aesthetic features of the Chinese and South Korean satirical novels, with a view to a more objective and comprehensive understanding of the Chinese and Korean modern satire novels. This thesis is mainly composed of the following parts: the introduction first explains the concept and characteristics of satire and satire, and then expounds the significance of the topic, the current research, the scope of research and the research methods. The first chapter mainly expounds the reasons and development of the flourishing development of the Chinese and Korean modern satirical novels. There are three sources of Han and modern Satire: the ancient satirical literature and rich and colorful folk satire, foreign satirical literature, and the special historical environment of internal anxiety and external suffering. First, the history of the ancient satirical literature of the two countries was reviewed, and the inheritance of the traditional Chinese and Korean satirical novel to the traditional culture and art was discussed. Modern Korean satire has inherited the cultural essence and cultural connotation of classical Korean oral biography, fictional drama, rap drama and other traditional arts in the aspects of language characteristics, character description, and image. Chinese modern satire also inherits traditional oral literature, singing literature, classical novels and cross talk and so on in China. The Chinese and Korean modern satire novels have common features in narrative techniques, the expression of the plot, the humorous expression of popular language, the exaggeration of character description, and the imitation of drama, which stems from the generality of the two countries in the traditional art and the inheritance of the traditional literature and art of the two countries by the two countries. The difference in the specific process and method of inheritance is also one of the reasons for the difference between the Modern Satirical Novels of the two countries. Secondly, in this period, China and South Korea have carried out a large number of foreign satirical and theoretical literature translation work, which is inseparable from the vigorous development of Modern Satirical literature between the two countries. For example, Lu Xun translated the "except in the kitchen of kitchen and the white village" "The tower of elephant tower > the tower of ivory >" and "the yP auxiliary" of the crane: "thought, landscape and character"; Zhou Zuoren's Japanese satirical poem, the satirical poem of the Greek rooserie, the essays of J Wilf De, the famous British satirist, the servant of the maidservant, and the Japanese wild comedy < Li Chun >. In Korea, Cui Zairui introduced Adas Hexley's satire in the DPRK daily. On the basis of his theory, he first published the satirical literary theory of satirical theory in the history of Korean literature. Han Yi introduced the satirical novels of Gogol and other Russian novelists and published the comments on satirical literature in the East Asia daily and put forward the concept of satire. These have greatly influenced the modern satire between China and South Korea. In the end, the historical background of this period and the outline of the evolution of Chinese and Korean modern satire are expounded. Modern China and Korea are the most harsh and darkest times of society, barbarism and civilization, evil and justice, the confrontation between darkness and light, and the struggle. These two historical backgrounds give the Chinese and Korean Modern Satirical Novels a flourishing hair. The exhibition provides a historical stage. The emergence of the satirical novel in this period is the result of the contemporary writers' understanding of these chaotic situations and the result of the literary response. The second chapter focuses on the multiple themes of the Chinese and Korean Modern Satirical Novels. It takes up the pen, exposes the various contradictions in the real life, reveals the various kinds of characters in life, especially the false facades of some characters, exposes their inner essence, but also shows how the oppressed people struggle and struggle in the suffering. First, the social contradictions and darkness are the rule system of the time. The inevitable product, to eliminate the darkness, had to overthrow the dark system itself. Therefore, the Chinese and Korean satiriers first directed their criticism to the social and political system of the time, and to the bureaucracy, politicians, intellectuals, philistine, swindlers and clowns that were active in the colonial and semi colonial context of the social and historical context. We have carried out a merciless disclosure and attack to keep them from being saved. Secondly, the modern Chinese and South Korea have opened a profound social thought and cultural change after the new "54" new cultural movement and the "opening period movement". Therefore, some so-called "new personages" deny the traditional culture and "reevaluate everything". "Value" requires a large number of western culture, even "full Westernization". The actual situation is far from complex, and the acceptance and absorption of culture is not a barrier. Some people blend and mix the two cultures and mix new and old, but the "new" is only the skin of the new culture, and they only learn the material enjoyment of the westerners, They have not learned the essence of Western civilization, such as the core spirit of Western civilization, "science", "democracy", "equality", "competition", and other Western civilizations. In the end, the Chinese and Korean writers in this period have a high degree of human meaning and pay attention to the true human nature in their works. For the world literature of the twentieth Century, "turning inward" is the trend of literature development, from the external description of people to the description of the human mind, the true human nature, and the true human nature. The antennae of art extends to the hidden corner of human nature and enriches the description of human nature in literature. For the time being, Chinese and Korean ideological circles, the pioneers of the cultural circles pay great attention to the problem of human nature, and raise the human nature of the people as a key issue for the development of social progress. The universal nature of human nature, especially the "evil" side, reflects the changes of the times and society with the distortion and variation of human nature. The irony of Chinese and Korean modern novels, with political satire, moral satire, world satire and human satire, exposes and satirize the dark and decadent social reality of the two countries in the first half of the twentieth Century. The third chapter studies the writing skills and satire effects of the Chinese and Korean Modern Satirical Novels. The first section discusses the narrative method of the satirical novel. The satirical novel aims at criticizing and correcting the real society, and the satirical novel's criticism and attack on the satirical object are circuitous and indirect. The writer's intention and theme will be persuaded to persuade the reader that the satirical novel needs to be communicated with the reader with a unique technique, and this technique is a narrative method. The narrative method can be divided into three types. The first type is to adjust the distance between the narrative distance and the distance between the implied writer and the narrator and the distance between the person and the implied reader. Change the reader's attitude to satire to improve the satire. When the narrative distance between the implied writer and the narrator is near, the reader can resonate with the narrator. When the narrative distance is far away, the reader can take an objective and critical attitude to the narrator. The second types are oral narration. Sexual talk refers to dialogue with the realistic readers of every cultural class in the society in the form of daily spoken language. Oral talk is used by readers, and annotating narrative methods can make readers resonate with the author's intention easily and achieve satire effect. The third types are to strengthen dialogue. The narrative method of satirical fiction is, in the final analysis, to make the satirical and satirical purposes inexplicit in the article, and to make contributions to the readers. In the second section, the method of satire is discussed. Satire refers to the author's tone. The sarcasm (or emotion) made up of sarcasm (or emotion), which is made of ironic rhetoric, is often unthought, which is known as an intuitional ironic composition. There are many ironic rhetorical devices in the Chinese and Korean Modern Satirical Novels. In this section, there are many rhetorical devices in this section, such as parody, irony, parody, hyperbole, metaphor, misinterpretation, and analogy. The fourth chapter is the aesthetic style of the Chinese and Korean satirical novels. First, through the analysis of the tragic satire novels in China and Korea, the expression form, emotional mode and aesthetic style of tragic satire novels are discussed. Then, the expression form, emotional mode and aesthetic style of the Chinese and South Korean comic satire novels are discussed. According to the theory of ugliness, the expression and artistic value of "Ugliness" as a special aesthetic form in Chinese and Korean modern satirical novel are discussed. There are a lot of description of "Ugliness" in the Chinese and Korean modern novels, and the "Ugliness" in the satirical novel is one of the unique ways for the satirist to look at the world. The role of aesthetic connection between the real world is studied. First, the expression of "Ugliness" and its modern satire in China and Korea is studied. According to the theory of "Ugliness" by Rosenkranz (Rosenkranz), ugliness is divided into four kinds: natural ugliness, appearance ugliness, spiritual ugliness and artistic ugliness. In this section, the "Ugliness" of the first three forms is examined in this section. In the modern Chinese and Korean satire novels, if they evolve into the ugliness of art, the aesthetic value of art ugliness is discussed. Finally, the similarities and differences in the artistic style of the Chinese and Korean modern satire novels are summarized.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：I106.4

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本文編號(hào)：2012569