本文選題：中國(guó) + 韓國(guó)�。� 參考：《延邊大學(xué)》2009年碩士論文

【摘要】： 本論文是以20世紀(jì)20年代初中韓短篇小說(shuō)中的第一人稱敘述模式為比較研究的對(duì)象,采用融會(huì)西方的形式主義文學(xué)理論和比較文學(xué)平行研究的方法的綜合性研究方法,比較系統(tǒng)地探討了中韓小說(shuō)從傳統(tǒng)到現(xiàn)代的轉(zhuǎn)型過(guò)程中小說(shuō)的敘述模式所起的作用。本論文選擇中國(guó)的魯迅、郭沫若、郁達(dá)夫和韓國(guó)的李光洙、金東仁、玄鎮(zhèn)健、廉想涉在20年代創(chuàng)作的第一人稱短篇小說(shuō)為比較研究的對(duì)象,從中找出小說(shuō)敘事模式從傳統(tǒng)到現(xiàn)代轉(zhuǎn)型過(guò)程中的異同點(diǎn)以及第一人稱敘述模式在中韓現(xiàn)代小說(shuō)史上的意義。主要在如下幾個(gè)方面進(jìn)行了比較研究: 首先,對(duì)中韓兩國(guó)的小說(shuō)敘事傳統(tǒng)和西方文學(xué)對(duì)這一傳統(tǒng)所起的影響作了概括性的陳述。中韓傳統(tǒng)小說(shuō)主要是以陳述人物一生經(jīng)歷的“一人一代記”式的結(jié)構(gòu)模式為主,而其敘述模式往往是敘述者站在人物和事件之外作居高臨下的敘述和評(píng)論的外視角的第三人稱敘述方式。第一人稱小說(shuō)是隨著中韓近代文學(xué)的發(fā)展和西方小說(shuō)的影響下逐漸成為重要敘述形式的。中韓兩國(guó)自19世紀(jì)中葉就進(jìn)入了近現(xiàn)代社會(huì),而這一時(shí)期開(kāi)始兩國(guó)的文化聯(lián)系逐漸疏遠(yuǎn),都是以西方文化的強(qiáng)烈沖擊和影響下進(jìn)入了近現(xiàn)代社會(huì)。因而中韓兩國(guó)第一人稱小說(shuō)敘述模式的轉(zhuǎn)變沒(méi)有直接的雙邊交流,但同時(shí)受西方文學(xué)沖擊和影響,在這個(gè)過(guò)程中日本文學(xué)充當(dāng)了媒介和橋梁作用,中國(guó)的魯迅、郁達(dá)夫、郭沫若和韓國(guó)的李光洙、金東仁、廉想涉、玄鎮(zhèn)建都曾赴日留學(xué)過(guò),而他們都可謂是中韓現(xiàn)代短篇小說(shuō)的開(kāi)拓者,中韓第一人稱短篇小說(shuō)正是通過(guò)這些作家的小說(shuō)創(chuàng)作,成為20世紀(jì)20年代初的代表性的敘述形式。 其次,把第一人稱敘述分為四種敘述類型,并具體對(duì)上述作家們的第一人稱小說(shuō)進(jìn)行了具體分析,從中找出中韓一人稱敘述模式在敘述效果方面的異同點(diǎn):(1)在對(duì)第三人稱的敘述權(quán)限的限制上,中國(guó)的小說(shuō)更為徹底的限制了敘述者的全知全能的敘述,把一人稱敘述模式的特點(diǎn)和作家意識(shí)、主題思想結(jié)合得更加淋漓盡致。(2)在強(qiáng)化寫實(shí)主義手法的真實(shí)性方面,中韓兩國(guó)的現(xiàn)代小說(shuō)都以第一人稱形式增強(qiáng)了小說(shuō)的真實(shí)性和客觀性,更加如實(shí)的反映了現(xiàn)實(shí)生活。(3)在敘述樣式的多樣化方面,中韓兩國(guó)的現(xiàn)代小說(shuō)家們都對(duì)小說(shuō)敘述形式的多樣化做出了舉足輕重的貢獻(xiàn),而中國(guó)的魯迅第一次在小說(shuō)中成功運(yùn)用了‘不可信的敘述者'模式,通過(guò)對(duì)作者和敘述者、讀者的敘述距離的調(diào)節(jié),更加突出了典型人物的個(gè)性,把現(xiàn)代小說(shuō)的敘述類型推向了新的領(lǐng)域。 再次,第一人稱敘述模式在中韓現(xiàn)代小說(shuō)史上的意義在于強(qiáng)化了小說(shuō)的真實(shí)性和說(shuō)服力,并充分發(fā)揮了作者的創(chuàng)作個(gè)性,體現(xiàn)出了個(gè)性解放的要求和現(xiàn)代意識(shí)。 從上述分析中可以得出,小說(shuō)敘述模式的轉(zhuǎn)變,即從第三人稱到第一人稱的具體化象征著從傳統(tǒng)小說(shuō)到現(xiàn)代小說(shuō)的轉(zhuǎn)型過(guò)程。而探討20-30年代中韓小說(shuō)從傳統(tǒng)到現(xiàn)代的轉(zhuǎn)型過(guò)程時(shí),以往的研究只注重于小說(shuō)主題和作家的現(xiàn)代意識(shí)等內(nèi)容層面上的轉(zhuǎn)變上,而相對(duì)忽視了小說(shuō)形式層面的研究,探討小說(shuō)的‘現(xiàn)代性'時(shí)研究作品的主題和現(xiàn)代社會(huì)意識(shí)固然重要,但小說(shuō)技巧的轉(zhuǎn)變和多樣化也不可忽略。 而本論文的創(chuàng)新點(diǎn)在于通過(guò)小說(shuō)形式的研究,著重探討了小說(shuō)敘述模式的轉(zhuǎn)型過(guò)程,總結(jié)出了文學(xué)內(nèi)在的發(fā)展原理,并結(jié)合了小說(shuō)的形式研究和社會(huì)學(xué)研究的方法,以此分析了中韓兩國(guó)的現(xiàn)代小說(shuō)從傳統(tǒng)到現(xiàn)代的真正意義上的轉(zhuǎn)型。在比較研究方面,以往的小說(shuō)比較只側(cè)重于對(duì)個(gè)別的作家和作品的研究,很少涉及到小說(shuō)形式層面的比較研究,而本論文所探討的對(duì)20世紀(jì)20年代初中韓第一人稱短篇小說(shuō)敘述模式的比較研究,擴(kuò)大了比較視野,開(kāi)拓了比較研究的新領(lǐng)域。
[Abstract]:This thesis is based on the comparative study of the first person narrative mode in the junior high and Korean Short Stories of the 1920s junior high school, and the comprehensive research method which combines the Western formalistic literary theory and the comparative literature method, and systematically discusses the narration of the novel from the traditional to the modern. The purpose of this paper is to choose Lu Xun, Guo Moruo, Yu Dafu and Korea's Lee Guangzhu, Jin Dongren, Xuan Zhen Zhen, and Lian Xiang in the first person short story in 20s as the object of comparative study, and to find out the similarities and differences of the novel narrative mode from the traditional to the modern transformation process and the first person narrative model. The significance of the formula in the history of modern Chinese and Korean novels is mainly studied in the following aspects:
First, a general statement is made about the narrative tradition of the two countries and the influence of Western literature on this tradition. The Chinese and Korean traditional novels are mainly based on the "one generation and one generation" structure model which states the life experience of the characters, and the narrative mode is often the narrator standing outside the characters and events. The third person narration of the external perspective of the narration and comment. The first person novel is gradually becoming an important narrative form with the development of modern Chinese and Korean literature and the influence of western novels. China and Korea entered the modern society in the middle of the nineteenth Century, and the cultural ties of the two countries gradually alienated from the beginning of the nineteenth Century, both of which were in the West. Under the strong impact and influence of culture, it entered the modern society. Therefore, there was no direct bilateral exchange between the first person novel narrative mode in China and South Korea, but it was influenced and influenced by western literature at the same time. In this process, Japanese literature acted as a medium and a bridge, Lu Xun, Yu Dafu, Guo Moruo, and Li Guang of Korea. Soo, Jin Dongren and Lian thought, the Jian Du City of Xuan Zhen had been studying abroad, and both of them were the pioneers of Chinese and Korean modern short stories. The first Chinese and Korean short stories were created by these writers and became representative forms of narration in the early 1920s.
Secondly, the first person narration is divided into four types of narration, and the specific analysis of the first person novels of the above writers is made, and the similarities and differences of the narrative effect between the Chinese and the Korean one person narrative mode are found out. (1) in the limitation of the narrative authority of the third person, the Chinese novels have completely restricted the narrator's whole. (2) in strengthening the authenticity of the realism, both Chinese and Korean modern novels enhance the authenticity and objectivity of the novel in the first person form and reflect the real life more truthfully. (3) narration In the variety of styles, Chinese and Korean modern novelists have made great contributions to the diversification of narrative forms, and the first time Chinese Lu Xun successfully applied the "unbelievable narrator" model in the novel. By adjusting the narrative distance of the author and narrator and the reader, the typical characters were more prominent. The personality has pushed the narrative types of modern novels to new fields.
Thirdly, the significance of the first person narrative mode in the history of Chinese and Korean modern novels lies in strengthening the authenticity and persuasiveness of the novel, and giving full play to the author's creative personality, which embodies the requirement of the liberation of individuality and the modern consciousness.
From the above analysis, it can be concluded that the transition from the third person to the first person symbolizes the transformation process from traditional novels to modern novels, while the study of the Chinese and Korean novels from the traditional to the modern in the 20-30 years is only focused on the theme of the novel and the modern consciousness of the writers. On the change of the capacity level, it is relatively neglecting the study of the form level of the novel. It is important to study the theme of the works and the modern social consciousness when discussing the modernity of the novel, but the change and diversification of the novel skills can not be ignored.
The innovation of this thesis lies in the study of the form of fiction, focusing on the transformation process of the narrative mode of the novel, summarizing the internal development principle of literature, combining the forms of the novel and the method of sociological research, and analyzing the transformation of the Chinese and Korean modern small theories from the traditional to the modern. In the comparative study, the previous novels only focus on the study of individual writers and works, rarely involved in the comparative study of the form level of the novel, and the comparative study of the narrative mode of the first person short story in the early 1920s has expanded the comparative field of view and opened up a new field of comparative study.

【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I106.4;I0-03

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