本文選題：殘雪小說 + 暗夜書寫��； 參考：《浙江師范大學(xué)》2015年碩士論文

【摘要】：殘雪寫作三十年,其小說歷經(jīng)80年代、90年代、新世紀(jì)以來的變(題材的日益生活化)與不變(“暗夜”書寫方式的不變),筆者于此將“暗夜”書寫定義為黑夜時間下的敘寫。眾所周知,大部分小說的敘事時間大都從白天開始,而殘雪的小說特別偏愛暗夜下的敘述。無論是前期的《山上的小屋》還是新世紀(jì)以來的若干中長篇,“暗夜”書寫都是殘雪小說的重點(diǎn),幻覺、夢魘時常充溢其小說中。殘雪為何采取此種而非它種方式,殘雪小說人物身份為何如此撲朔迷離?殘雪小說敘事時間又緣何頻定于夜晚?對這些問題的探討研究不僅有助于厘清殘雪小說意在傳達(dá)的理念,在某種程度上也許還能使我們更獨(dú)到的領(lǐng)悟殘雪獨(dú)特的精神世界,從而更清晰地看見殘雪。鑒于此,本文擬從四個部分來論述“殘雪小說中的‘暗夜’書寫”。第一章首先論述殘雪小說中“暗夜”書寫的成因。殘雪是一個略顯怪異的作家,她獨(dú)特文風(fēng)的形成與湘地巫靈傳統(tǒng)不無關(guān)系。她作品中的荒誕、怪異色彩應(yīng)是楚地文化不自覺留下的烙印。第二節(jié)從殘雪獨(dú)特的個人氣質(zhì)出發(fā),探尋殘雪小說“暗夜”書寫的成因,此節(jié)將著重于殘雪幼時生活對殘雪“暗夜”書寫的影響。第三節(jié)探尋西方現(xiàn)代、后現(xiàn)代敘事對殘雪的影響�！鞍狄埂睍鴮懙男纬膳c上述因素密不可分。第二章在承前的基礎(chǔ)上,對殘雪小說人物在暗夜下的心靈漂泊加以分析。本章第一節(jié)論述暗夜下的孤獨(dú)與徘徊。殘雪作品中的小說人物白天與黑夜的情形下常有不同的行為表現(xiàn),白天看來與普通人無異的人物常在黑夜中行走、漫步、哭泣。第二節(jié)論述殘雪小說中人們黑夜情境中的行為正是尋找不受世俗約束的真我之途徑,是對白天受擠壓心靈的撫慰。第三章論述殘雪小說人物內(nèi)心在暗夜下的隱秘欲望。本章將援引弗洛伊德無意識學(xué)說加以分析,認(rèn)為黑夜下人們的行為正是內(nèi)心欲念驅(qū)動下的表現(xiàn)。即暗夜下人物的行為是在除去白天自我、超我的約束下自我的放縱,它主要受快樂原則的操縱,最大程度追求自我欲念的滿足。本章分兩節(jié)論述殘雪小說中人物的欲望。第一節(jié)從無意識角度探尋小說人物欲望。第二節(jié)從暗夜下的追尋——自我欲望的表現(xiàn),探尋人物實(shí)現(xiàn)欲望的途徑。第四章將分兩節(jié)論述作品中人物為實(shí)現(xiàn)欲望的找尋途徑——暗夜中的尋找。暗夜中人們的尋找是其欲望的表現(xiàn),也是自我確認(rèn)、自我認(rèn)證得以實(shí)現(xiàn)的有力途徑。本章第一節(jié)論述對圣境的追尋,第二節(jié)論述對圣境苦苦追尋的不得。結(jié)語將簡短論述殘雪“暗夜”書寫的魔力：敘事的陌生化效應(yīng)。英國文藝批評家克萊夫·貝爾說形式是有意味的。筆者認(rèn)為殘雪迥異眾人的“暗夜”書寫方式的采用拉開了日常經(jīng)驗(yàn)與敘述的距離,產(chǎn)生了一種全新的陌生化的審美體驗(yàn)。在消解俗套“套版效應(yīng)”的同時,給讀者造成了一種新奇的陌生化效果�！鞍狄埂睍鴮懖粌H營造了一種緊張、新奇的敘事氛圍,對殘雪小說的主題：揭示人類靈魂的主題也起到了一種“工巧無以過之”的妙用。殘雪聲稱自己的小說都是關(guān)于靈魂的敘事,寫人性的小說,歸屬于實(shí)驗(yàn)文學(xué)。本文重點(diǎn)分析殘雪小說中的“暗夜”書寫,以期更獨(dú)到體悟殘雪獨(dú)特的精神世界,從而更近距離逼近殘雪。
[Abstract]:After thirty years of writing, his novels have been written in the 80s, 90s, the change of the new century and the constant ("dark night" writing). The author defines the "dark night" writing as a narratives under the night time. It is well known that most of the novel's narrative time begins in the daytime, while the novel is snow. In particular, it favors the narrative of the dark night. Whether it is "the cottage" in the early days or a number of long stories in the new century, the writing of "dark night" is the focus of the novel. The study of these questions will not only help to clarify the idea of the novel intended to convey, but also to a certain extent can make us more unique in understanding the unique spiritual world of the snow, and thus more clearly see the snow. In view of this, this article is to discuss "the novel in the four parts." The first chapter discusses the cause of the writing of "dark night" in the novels of the cripple snow. The snow is a slightly strange writer. The formation of her unique style is closely related to the tradition of the witchcraft of the Hunan and Hunan. The absurdity and the weird color in her works should be the imprint of the unconsciously left of the Chu culture. The second section is from the unique personal temperament of the snow. This section will focus on the influence on the writing of the "dark night" of the Xue Xue's young life. The third section explores the influence of western modern and post-modern narration on the snow. The formation of "dark night" is closely related to the above factors. On the basis of the preceding paragraph, the second chapters are on the characters of the snow novels. The first section of this chapter discusses the loneliness and wandering under the dark. The novel characters in the works of the snow often have different behavior in the daytime and night. In the daytime, the characters that are different from the ordinary people often walk, walk, and cry in the night. The second section discusses the night situation of the people in the snow novels. The behavior is the way to find the true self that is not bound by the secular discipline, the comfort of the pressed soul in the daytime. The third chapter discusses the secret desire of the characters in the snow novels under the dark night. This chapter will give an analysis of Freud's unconsciousness theory and think that the behavior of the people under the night is the manifestation of the inner desire driven by the dark night. The behavior of things is to remove the self in the daytime and self indulgence under the restraint of superego. It is mainly controlled by the principle of happiness and the pursuit of the satisfaction of self desire. In this chapter, the desire of the characters in the novel is discussed in two sections. The first section explores the desire of the characters in the novel from the unconsciousness angle. The second section is the pursuit of the self desire under the dark night. The fourth chapter will discuss the way to find the desire in the works - the search for the desire in the dark night. The search for the people in the night is the expression of its desire. It is also a powerful way of self confirmation and self authentication. The first section of this chapter discusses the pursuit of the Holy Land and the second section. The conclusion will give a brief description of the magic power of the writing of the "dark night" in the snow: the strange effect of narration. The English literary critic Clive Bell said that the form of the English literary critic is meaningful. The new and unfamiliar aesthetic experience has created a new strangeness effect while eliminating the common set of "stereotypes". "Dark night" writing not only creates a kind of tension, a novelty narrative atmosphere, but also the theme of the novel: the theme of revealing the human soul is also a kind of "unskilled". It claims that his novels are all about the narration of the soul, the novels of the human nature, and the experimental literature. This article focuses on the analysis of the "dark night" in the novels of the snow in order to realize the unique spiritual world of the snow, and thus closer to the snow.

【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：I207.42

【共引文獻(xiàn)】

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本文編號：1806153