愛與死:基耶斯洛夫斯基電影《十誡》的敘事倫理研究
發(fā)布時(shí)間：2019-02-09 20:33
【摘要】：《十誡》波蘭電影大師克日什托夫·基耶斯洛夫斯基具有轉(zhuǎn)折意義的作品,本文從敘事倫理的角度展開對(duì)基耶斯洛夫斯基及其作品《十誡》的研究,探討了《十誡》中愛與死的倫理主題。具體來講,論文分為五章:第一章引言,分為三個(gè)部分,第一部分論述了目前國(guó)內(nèi)外對(duì)基耶斯洛夫斯基電影的研究現(xiàn)狀,通過對(duì)研究現(xiàn)狀的分析,筆者發(fā)現(xiàn)國(guó)內(nèi)外對(duì)《十誡》的研究相對(duì)較少;第二部分論述了課題的學(xué)術(shù)價(jià)值和應(yīng)用意義,論文對(duì)《十誡》的研究將彌補(bǔ)國(guó)內(nèi)外對(duì)《十誡》研究較少的現(xiàn)狀,并且筆者希望論文對(duì)《十誡》的研究可以影響和改變目前中國(guó)電影的創(chuàng)作;第三部分筆者詳細(xì)梳理了論文所使用的敘事倫理的批評(píng)方法。第二章論述了基耶斯洛夫斯基創(chuàng)作的轉(zhuǎn)向與《十誡》的關(guān)系�；孤宸蛩够娪皠�(chuàng)作存在從關(guān)注“政治化”的領(lǐng)域到對(duì)日常生活“形而上”的哲學(xué)思考的轉(zhuǎn)向,《十誡》是這種轉(zhuǎn)向的過渡性作品�；孤宸蛩够@種創(chuàng)作轉(zhuǎn)向外在表征為兩種路徑:一是創(chuàng)作體裁從紀(jì)錄片轉(zhuǎn)向了劇情片,二是創(chuàng)作風(fēng)格從紀(jì)實(shí)主義轉(zhuǎn)向了表現(xiàn)主義。第三章論述了十誡的現(xiàn)象學(xué)敘事。論文試圖嘗試將現(xiàn)象學(xué)的三大方法——懸置、返回生活世界、返回語言或描述應(yīng)用于《十誡》的敘事分析中。為了界定現(xiàn)象學(xué)敘事以及論述《十誡》的現(xiàn)象學(xué)敘事,論文首先對(duì)現(xiàn)象學(xué)的基本精神進(jìn)行了扼要地闡述,作為現(xiàn)象學(xué)“本質(zhì)直觀”方法的懸置、返回生活世界、返回語言或描述具有方法論的意義;接下來論文對(duì)現(xiàn)象學(xué)敘事進(jìn)行了梳理,并對(duì)其內(nèi)涵進(jìn)行了界定,為下文分析《十誡》的現(xiàn)象學(xué)敘事奠定學(xué)理上的依據(jù)。本章的最后詳細(xì)論述了《十誡》是如何進(jìn)行現(xiàn)象學(xué)敘事的,這種敘事帶來了什么樣的效果。第四章與第三章緊密相連,敘事與倫理本就具有互動(dòng)關(guān)系,《十誡》的現(xiàn)象學(xué)敘事是暗含著一定的倫理指向的,因此本章在現(xiàn)象學(xué)敘事的基礎(chǔ)上論述了《十誡》對(duì)現(xiàn)代性倫理的反思:愛的艱難和死的虛無。第五章在以上四章的基礎(chǔ)上,論述了《十誡》對(duì)當(dāng)下中國(guó)電影創(chuàng)作的借鑒意義。論文闡述了當(dāng)下中國(guó)電影存在的主要弊端:敘事能力的喪失、人文關(guān)懷和社會(huì)擔(dān)當(dāng)意識(shí)的缺乏以及娛樂化過度的現(xiàn)狀�；谶@樣的現(xiàn)狀,基耶斯洛夫斯基的《十誡》顯示出其強(qiáng)大的借鑒意義。應(yīng)該說,第五章是基于以上四章內(nèi)容之上的、從現(xiàn)實(shí)的角度對(duì)《十誡》的應(yīng)用意義的論述,是對(duì)以上四章的總結(jié)和升華。綜上所述,論文對(duì)《十誡》的現(xiàn)象學(xué)敘事分析和建立在這種敘事之上的倫理反思是本文的學(xué)術(shù)價(jià)值所在;從當(dāng)下中國(guó)電影的根本癥結(jié)出發(fā),對(duì)《十誡》的借鑒意義的論述是本文的應(yīng)用意義所在�；孤宸蛩够娪啊妒]》從日常生活出發(fā),對(duì)現(xiàn)代社會(huì)中真實(shí)的個(gè)人的關(guān)注和對(duì)現(xiàn)代性倫理的哲學(xué)思考是《十誡》魅力日益劇增的原因所在。
[Abstract]:The works of Krzysztof Kieslowski, a Polish film master, are of turning significance. This paper, from the perspective of narrative ethics, studies Kieslowski and his works, "the Ten Commandments". This paper discusses the ethical theme of love and death in the Ten Commandments. Specifically, the paper is divided into five chapters: the first chapter is an introduction, which is divided into three parts. The first part discusses the current domestic and foreign research status of Kieslovsky film, through the analysis of the current research situation, The author found that there are few researches on the Ten Commandments at home and abroad. The second part discusses the academic value and application significance of the subject. The research on the Ten Commandments will make up for the lack of research on the Ten Commandments at home and abroad. And the author hopes that the research on the Ten Commandments can influence and change the current Chinese film creation. In the third part, the author combs the critical methods of narrative ethics in detail. The second chapter discusses the relationship between the turn of Kieslovsky's creation and the Ten Commandments. Kieslovsky's film creation has changed from paying attention to the field of "politicization" to the philosophical thinking of "metaphysics" of daily life. The Ten Commandments is a transitional work of this kind. There are two ways in which Kieslovsky's creation turns to external representation: one is that the writing style has changed from documentary to drama, the other is that the writing style has changed from documentalism to expressionism. Chapter three discusses the phenomenological narration of the Ten Commandments. This paper attempts to apply three phenomenological approaches to the narrative analysis of the Ten Commandments: suspending, returning to the world of life, and returning language or description to the narrative analysis of the Ten Commandments. In order to define the phenomenological narration and the phenomenological narration of the Ten Commandments, the paper first briefly expounds the basic spirit of phenomenology, as the suspension of the phenomenological "essential intuition" method, and returns to the world of life. The return of language or description has methodological significance; Next, the thesis combs the phenomenological narration and defines its connotation, which lays a theoretical foundation for the following analysis of the phenomenological narrative of the Ten Commandments. At the end of this chapter, the author discusses in detail how the Ten Commandments are used in phenomenological narration and what effect this narrative has brought. The fourth chapter is closely connected with the third chapter, the narration and the ethics already have the interaction relations, the "Ten Commandments" phenomenological narration is implied certain ethics direction, Therefore, based on the phenomenological narration, this chapter discusses the reflection of the Ten Commandments on the ethics of modernity: the hardship of love and the nothingness of death. On the basis of the above four chapters, the fifth chapter discusses the significance of the Ten Commandments for contemporary Chinese film creation. This paper expounds the main drawbacks of Chinese films: the loss of narrative ability, the lack of humanistic concern and social responsibility consciousness, and the present situation of excessive entertainment. Based on this situation, Kieslovsky's Ten Commandments show its strong reference significance. It should be said that the fifth chapter is based on the above four chapters, from the practical point of view of the application of the Ten Commandments, is a summary of the above four chapters and sublimation. To sum up, the academic value of this paper lies in the analysis of the phenomenological narrative of the Ten Commandments and the ethical reflection based on the narrative. Starting from the crux of the present Chinese film, the significance of the application of the Ten Commandments lies in the discussion of the significance of reference. From the perspective of daily life, Kieslovsky's film the Ten Commandments focuses on the real individuals in modern society and philosophical thinking on the ethics of modernity, which is the reason for the increasing charm of the Ten Commandments.
【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905
本文編號(hào)：2419366
[Abstract]:The works of Krzysztof Kieslowski, a Polish film master, are of turning significance. This paper, from the perspective of narrative ethics, studies Kieslowski and his works, "the Ten Commandments". This paper discusses the ethical theme of love and death in the Ten Commandments. Specifically, the paper is divided into five chapters: the first chapter is an introduction, which is divided into three parts. The first part discusses the current domestic and foreign research status of Kieslovsky film, through the analysis of the current research situation, The author found that there are few researches on the Ten Commandments at home and abroad. The second part discusses the academic value and application significance of the subject. The research on the Ten Commandments will make up for the lack of research on the Ten Commandments at home and abroad. And the author hopes that the research on the Ten Commandments can influence and change the current Chinese film creation. In the third part, the author combs the critical methods of narrative ethics in detail. The second chapter discusses the relationship between the turn of Kieslovsky's creation and the Ten Commandments. Kieslovsky's film creation has changed from paying attention to the field of "politicization" to the philosophical thinking of "metaphysics" of daily life. The Ten Commandments is a transitional work of this kind. There are two ways in which Kieslovsky's creation turns to external representation: one is that the writing style has changed from documentary to drama, the other is that the writing style has changed from documentalism to expressionism. Chapter three discusses the phenomenological narration of the Ten Commandments. This paper attempts to apply three phenomenological approaches to the narrative analysis of the Ten Commandments: suspending, returning to the world of life, and returning language or description to the narrative analysis of the Ten Commandments. In order to define the phenomenological narration and the phenomenological narration of the Ten Commandments, the paper first briefly expounds the basic spirit of phenomenology, as the suspension of the phenomenological "essential intuition" method, and returns to the world of life. The return of language or description has methodological significance; Next, the thesis combs the phenomenological narration and defines its connotation, which lays a theoretical foundation for the following analysis of the phenomenological narrative of the Ten Commandments. At the end of this chapter, the author discusses in detail how the Ten Commandments are used in phenomenological narration and what effect this narrative has brought. The fourth chapter is closely connected with the third chapter, the narration and the ethics already have the interaction relations, the "Ten Commandments" phenomenological narration is implied certain ethics direction, Therefore, based on the phenomenological narration, this chapter discusses the reflection of the Ten Commandments on the ethics of modernity: the hardship of love and the nothingness of death. On the basis of the above four chapters, the fifth chapter discusses the significance of the Ten Commandments for contemporary Chinese film creation. This paper expounds the main drawbacks of Chinese films: the loss of narrative ability, the lack of humanistic concern and social responsibility consciousness, and the present situation of excessive entertainment. Based on this situation, Kieslovsky's Ten Commandments show its strong reference significance. It should be said that the fifth chapter is based on the above four chapters, from the practical point of view of the application of the Ten Commandments, is a summary of the above four chapters and sublimation. To sum up, the academic value of this paper lies in the analysis of the phenomenological narrative of the Ten Commandments and the ethical reflection based on the narrative. Starting from the crux of the present Chinese film, the significance of the application of the Ten Commandments lies in the discussion of the significance of reference. From the perspective of daily life, Kieslovsky's film the Ten Commandments focuses on the real individuals in modern society and philosophical thinking on the ethics of modernity, which is the reason for the increasing charm of the Ten Commandments.
【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905
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，本文編號(hào)：2419366
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