本文選題：石黑一雄　切入點：遠(yuǎn)山淡影　出處：《復(fù)旦大學(xué)》2012年碩士論文

【摘要】：本論文以當(dāng)代日裔英籍小說家石黑一雄的作品為研究對象,旨在通過文本細(xì)讀方式,探討他的傷痕書寫模式。作為與奈保爾、拉什迪并列的“英國移民作家三雄”,石黑一雄如今已是當(dāng)代英國享有盛名的小說家。他的日裔身份,令他初涉文壇時就獲得關(guān)注,但仔細(xì)分析后會發(fā)現(xiàn),他的作品與其它兩位移民作家相比,“移民”色彩并不濃。相反,石黑一雄自稱“國際化寫作者”,他清新典雅的行文,自成敏銳風(fēng)格。石黑一雄小說的主題涉及人的記憶、情感、歷史傷痕與童真的永遠(yuǎn)失去。他筆下的人物總是在不斷的回溯中探尋、感受、掩飾難以理解的歷史與人生。 2011年是石黑一雄作品與中國內(nèi)地讀者再次密集相逢的一年。三部早期作品、亦是石黑一雄的成名作品《遠(yuǎn)山淡影》、《浮世畫家》、《無可慰藉》及短篇小說集《小夜曲》于同年初印出版。2012年,石黑一雄的三部舊作《長日將盡》、《千萬別丟下我》、《上海孤兒》,也全部再版。這即將到來的石黑一雄熱潮,雖然遲來,卻必將引發(fā)讀者對于移民作者多樣化寫作的討論。本文將深入探討三部引進(jìn)新作(長篇)中,石黑一雄的“傷痕書寫”方式。全文分為三章和結(jié)語。 第一章主要討論石黑一雄的生平、創(chuàng)作及取得的成就,并樹立國內(nèi)外學(xué)界對于石黑一雄的研究現(xiàn)狀。結(jié)合時下流行的移民文學(xué)研究成果,厘清石黑一雄與這些移民作品的區(qū)別,指出本文的研究目的及研究意義。第二章以作品入手,首先細(xì)讀分析《遠(yuǎn)山淡影》的人物塑造。同時分析文本中“自欺”與記憶重塑的意義所在。其次分析《遠(yuǎn)山淡影》中傷痕書寫的意義。第三章則討論《遠(yuǎn)山淡影》中的緒方先生形象與《浮世畫家》中小野形象的關(guān)系,梳理其它的作品在世界語境下對于人的生存思考�；貞浖仁且环N心理防御機(jī)制,又是一種敘事形式,同時它還具有詩學(xué)內(nèi)涵。石黑一雄善于書寫不同境遇下的人面對精神創(chuàng)傷時的自我安慰。但他不直接描述傷害與災(zāi)難本身。在他的筆下呈現(xiàn)了一個模糊、深邃、又難以理解的記憶世界,那便是一個世紀(jì)以來戰(zhàn)爭瘡痍被現(xiàn)代文明磨平之后,留在人類心靈中永恒的傷疤,文中將他的傷痕敘述與兩岸傷痕文學(xué)寫作進(jìn)行比較。 最后的結(jié)語部分,將總結(jié)石黑一雄小說中的傷痕意識、傷痕書寫方式,及他真正的文學(xué)觀念。那是與所謂移民、跨文化寫作不同的意義,石黑一雄的的文學(xué)觀念是希望能寫作國際化小說。何為國際化小說,恐怕具有多重的含義�；氐揭呀�(jīng)消失的時間中尋找人類心靈變遷的軌跡,石黑一雄式的敘事迷霧,才得以緩緩揭開。
[Abstract]:This thesis takes the works of contemporary Japanese British novelist Ishihiro Ishiko as the object of study, aiming at exploring his writing mode of scar by means of close reading of the text. Rushdie's juxtaposition of "three British immigrant writers," Ishihiro Ishihiro is now a famous novelist in contemporary Britain. His Japanese-born status attracted him attention when he first entered the literary world, but a careful analysis revealed that. Compared with the other two immigrant writers, his works are not very colorful. On the contrary, Ishihiro Ishihiro calls himself an "international writer," his fresh and elegant style, and his own sharp style. The theme of Ishihiro's novels involves people's memories and feelings. The historical scars and innocence are lost forever. The characters in his works are always looking back, feeling and hiding the history and life which are difficult to understand. The year 2011 was another year of intense encounters between Ishihiro's works and mainland Chinese readers. Three early works, Also a famous work by Ishihiro Ishiko, "the faint Shadow of the far Mountains", "the floating Painter," "No consolation" and a collection of short stories, "Nocturne", was published in early 2012. Ishihiro's three old works, "long days are running out", "Don't leave me alone", "Shanghai Orphans", are all republished. However, it will certainly lead readers to discuss the diversified writing of immigrant authors. This paper will discuss deeply the "scar writing" method of Ishihiro Yi-hsiung in three new books (long works). The full text is divided into three chapters and conclusion. The first chapter mainly discusses the life, creation and achievements of Ishihiro, and sets up the current research situation of Ishihiro in domestic and foreign academic circles. Clarify the difference between Ishihiro and these immigrant works, and point out the purpose and significance of the research. Chapter two begins with the works. At first, we analyze the characters of Yuan Shan faint Shadow. At the same time, we analyze the meaning of "self-deception" and memory remodeling in the text. Secondly, we analyze the significance of scar writing in "Yuan Shan Shadow". Chapter three discusses the meaning of "Yuan Mountain Shadow". The relationship between the image of Mr Ogata and the image of Ogata in floating world painter, In the context of the world, memory is not only a psychological defense mechanism, but also a narrative form. At the same time, it has a poetic connotation. Ishihiro Ishihiro is good at writing about the self-comfort of people in different circumstances when facing trauma. But he does not directly describe injury and disaster itself. In his works, he presents a vague, profound, It is also difficult to understand the world of memory, that is, after a century of war wounds have been ground down by modern civilization, they are left with eternal scars in the human mind. In this paper, his scar narration is compared with the cross-Strait scar literature writing. In the last part of the conclusion, we will sum up the consciousness of scars, the writing style of scars, and his real literary ideas in Ishihiro's novels. That is different from the so-called immigrant, cross-cultural writing. Ishihiro's literary concept is that he hopes to be able to write international novels. What is an international novel, I'm afraid it has so many meanings. Looking back at the path of human spiritual change in time gone, Ishihiro's narrative fog. Only then can slowly uncover.
【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I313.074

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