本文選題：《羞恥》　切入點(diǎn)：第三空間　出處：《四川外國(guó)語(yǔ)大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：薩爾曼·拉什迪（Salman Rushdie,1947-）是當(dāng)代印度裔英國(guó)小說(shuō)家，《羞恥》(Shame,1983)是他的第三部小說(shuō)，該小說(shuō)在歐美獲得各項(xiàng)文學(xué)大獎(jiǎng)但同時(shí)卻在巴基斯坦遭到了禁止。小說(shuō)以現(xiàn)代童話的方式講述了虛構(gòu)的巴基斯坦30多年的社會(huì)現(xiàn)實(shí)，其主題探討了政治暴力、非理性的宗教與社會(huì)的羞恥之間的關(guān)系。 論文有導(dǎo)論、結(jié)論和主體三部分組成。第一章分析《羞恥》對(duì)巴基斯坦官方歷史的重寫，指出重寫是理解小說(shuō)的政治、文化意義的關(guān)鍵所在。本章分析小說(shuō)中呈現(xiàn)出來(lái)的家園意象，，指出拉什迪對(duì)巴基斯坦官方歷史的重寫顛覆了官方與民間、上層與低層之間的二元對(duì)立，發(fā)出了一種間隙的、雜交的、嘈雜的聲音，從而營(yíng)造出一個(gè)第三空間和文學(xué)世界。第二章探討小說(shuō)的離散政治，指出拉什迪在戲仿巴基斯坦的社會(huì)政治時(shí)盡可能以一種詼諧的方式進(jìn)行言說(shuō)。本章分析小說(shuō)中離散者的視角、離散者的文化認(rèn)同、女性與政治壓迫，這些書寫表現(xiàn)出拉什迪試圖通過(guò)文學(xué)去抵抗巴基斯坦嚴(yán)肅政治事實(shí)的美學(xué)訴求，同時(shí)指出離散政治給小說(shuō)營(yíng)造出另一個(gè)第三空間和文學(xué)世界。第三章則聚焦于小說(shuō)的美學(xué)風(fēng)格，主要分析小說(shuō)中語(yǔ)言雜糅，怪誕、魔幻風(fēng)格和后殖民模擬寫作，指出這些美學(xué)風(fēng)格再次為小說(shuō)建構(gòu)起另一個(gè)的第三空間和文學(xué)世界�；谥黧w部分的分析，本文擬得出以下結(jié)論：《羞恥》以一種嘻嘻怒罵的方式言說(shuō)著虛構(gòu)的巴基斯坦的歷史和政治，建構(gòu)出一個(gè)眾聲喧嘩、雜糅的、充滿異質(zhì)聲音的第三空間和文學(xué)世界。拉什迪在小說(shuō)中發(fā)出了受壓迫的底層人的聲音，在批判狹隘的民族主義的同時(shí)也對(duì)西方霸權(quán)文化進(jìn)行了顛覆，但《羞恥》建構(gòu)的第三空間和文學(xué)世界在一定程度上帶有拉什迪的個(gè)人化和理想化傾向。拉什迪以自己的創(chuàng)作喚起公眾對(duì)殖民和后殖民現(xiàn)象的關(guān)注，并給第三世界文學(xué)的發(fā)展和民族身份的重建給出了自己的思考。
[Abstract]:Salman Rashid (Salman Rushdie 1947-) is a contemporary India born British novelist, < > shame (Shame, 1983) is his third novel, the novel won the literary awards in Europe but in Pakistan were banned. Novels with modern fairy tales told the fictional Pakistan 30 years of social reality, the the theme of political violence, the relations between non rational religion and social shame.
The paper has an introduction, main body and conclusion of three parts. The first chapter analyzes the "shame of Pakistan > official history rewriting, pointed out that rewriting is the understanding of the novel key political, cultural significance. This chapter analyzes the home images in the novel, Rushdie pointed out that in Pakistan the official history of the rewriting subversion of the official and the folk, two the binary opposition between the upper and lower layer, a gap, hybrid, noise, thereby creating a third space and the literary world. The second chapter discusses the discrete political novels, Rushdie pointed out in Pakistan's social and political parody as much as possible to speak in a humorous way. The diaspora this chapter analyzes the novel from the perspective of cultural identity, the diaspora, women and political oppression, Rushdie tries to show these writing literature to resist the Pakistan serious political facts Aesthetic appeal, also pointed out that the political novel to create a discrete space and another third world of literature. The third chapter focuses on the novel's aesthetic style, linguistic hybridity, mainly analyzes the grotesque writing style of magic and colonial simulation, pointed out that these aesthetic style novels build again for another third of the space and the literary world based on the analysis. The main part of this paper, draw the following conclusions: < > in a shame way of expressing hee curse fictional Pakistan history and politics, construct a hubbub, hybridity, full of different sound third space and the literary world. Rushdie made the bottom oppressed people's voice in the novel, in the critique of narrow nationalism but also of the Western cultural hegemony of subversion, but the construction of the third space > < shame and the literary world to a certain extent with pull Shendi personal and idealized tendency. Rushdie public attention to colonial and postcolonial phenomenon aroused by his works, and to the development of the third world literature and national identity reconstruction gives his own thinking.

【學(xué)位授予單位】：四川外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I561.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 石海軍;;破碎的鏡子:“流散”的拉什迪[J];外國(guó)文學(xué)評(píng)論;2006年04期

本文編號(hào)：1571360