發(fā)布時(shí)間：2018-06-23 22:42

  本文選題：菲利普·羅斯 + 《我作為男人的一生》��； 參考：《上海師范大學(xué)》2012年碩士論文

【摘要】：菲利普·羅斯是美國(guó)當(dāng)代猶太作家，被稱為美國(guó)活著的文學(xué)神話�！吨苋针娪崍�(bào)》上稱贊羅斯擁有一支發(fā)光的筆，當(dāng)代美國(guó)小說(shuō)界少有人能與之匹敵。他以作品的多產(chǎn)、藝術(shù)風(fēng)格的多變以及主題上的不斷創(chuàng)新而備受文學(xué)界的關(guān)注。他的創(chuàng)作是和時(shí)代的發(fā)展緊密聯(lián)系在一起的。在羅斯已創(chuàng)作的三十多部作品中，，每部作品中都有性愛(ài)描寫，里面的女性人物也一反文學(xué)和文化傳統(tǒng)中的女性形象，具有強(qiáng)悍和溫柔、反抗和順從而強(qiáng)悍和反抗居多的特征。他作品中的女性也不再是男以往作家筆下的社會(huì)犧牲品，男性反而成了女性欺壓下的犧牲品。對(duì)于羅斯筆下的女性人物形象的解讀，國(guó)內(nèi)還很少�！段易鳛槟腥说囊簧肥橇_斯最有雄心的一部作品，對(duì)于這部作品尤其是女性形象，國(guó)內(nèi)研究也很少。正由于這一現(xiàn)狀，筆者從羅斯創(chuàng)作的文化背景出發(fā)，結(jié)合他個(gè)人的藝術(shù)手法，具體來(lái)研究《我作為男人的一生》中的女性形象，并指出女性人物帶有的象征意義。 全文主要分為“《我作為男人的一生》中女性自身的復(fù)雜性和矛盾性”“《我作為男人的一生》的藝術(shù)手法與時(shí)代背景意義”和“《我作為男人的一生》中女性形象的象征意義”三個(gè)章節(jié)來(lái)寫的，加上緒論和結(jié)語(yǔ)，總共分為五個(gè)部分。 緒論部分，主要是羅斯的創(chuàng)作歷程和創(chuàng)作風(fēng)格、羅斯的國(guó)內(nèi)外研究現(xiàn)狀以及本課題的創(chuàng)新點(diǎn)和研究方法進(jìn)行了一定的梳理和歸納分析，為下文的具體分析作了背景和鋪墊的作用，以期透過(guò)全局來(lái)把握，防止分析的片面化。 第一章主要分析了《我作為男人的一生》中包含的三部小說(shuō)中的四個(gè)主要女性形象自身的復(fù)雜性和矛盾性：《不懂事的少年時(shí)代》中的猶太少女莎倫·夏茨基；《情場(chǎng)失意》中的利迪亞·凱特勒；《我的真實(shí)故事》中妻子莫琳和情人蘇珊。通過(guò)這四個(gè)主要女性形象自身的復(fù)雜性和矛盾性對(duì)比和細(xì)致分析指出她們之間的共通性、矛盾性以及作品中主人公對(duì)這六者存在的不同態(tài)度以及多重意義。 第二章主要從《我作為男人的一生》中的時(shí)代背景意義和藝術(shù)手法進(jìn)行細(xì)致的分析，主要論述了羅斯與作品中女性的形塑關(guān)系以及虛構(gòu)和真實(shí)的二元融合以證明作者羅斯在特殊文化中對(duì)作品以及人物塑造中摻雜了大量的自我社會(huì)及人生經(jīng)驗(yàn)。 第三章主要是在前兩章的基礎(chǔ)上進(jìn)一步深化。通過(guò)羅斯故意創(chuàng)作出的錯(cuò)綜交替的女性形象的多元意義指出非猶太女人利迪亞和莫琳與美國(guó)多元文化中自主性的對(duì)應(yīng)；猶太女人莎倫和蘇珊與猶太文化中傳統(tǒng)性的對(duì)應(yīng)。指出她們的文化象征意義，進(jìn)一步指出羅斯在性別差異和文化差異的羈絆中的自我超越，探索羅斯對(duì)人的普遍生存意義的探索以及對(duì)于絕對(duì)的自由的向往和追求。 結(jié)語(yǔ)部分主要對(duì)前文主要觀點(diǎn)及結(jié)構(gòu)做了進(jìn)一步的梳理，指出了羅斯創(chuàng)作對(duì)文學(xué)史上的影響和意義，闡明本文的創(chuàng)新點(diǎn)與不足以及對(duì)于羅斯進(jìn)一步研究的期望。
[Abstract]:Philip Ross, a contemporary American Jewish writer, is called the literary myth of American living. The Sunday telegraph praised Ross for having a shining pen and few people in the contemporary American fiction world. He attracted much attention from literary circles for his prolific, artistic style, and innovation on the theme. It is closely linked with the development of the times. In the more than 30 works that Ross has created, there are sex descriptions in each of the works. The female characters inside are also the female images in the anti literary and cultural traditions. They are strong and gentle, and the resistance and obedience are strong and anti resistant. The women in his works are no longer the same. Men have fallen victim to the social victimized by the previous writers. Men have been victimized by female bullying. The interpretation of Ross's female characters is rarely seen at home. < I as a man's life > is Ross's most ambitious work. There are few domestic studies on this work, especially the female image. From the cultural background of Ross's creation and his personal artistic technique, the author studies the female image in my life as a man, and points out the symbolic meaning of the female characters.
The full text is divided into three chapters: < I as a man's life > the complexity and contradiction of women in the life of a man. "" my life as a man, the artistic technique and the background meaning of the times "and" the symbolic meaning of the woman's image as a man's life ", with a total of five parts, in addition to the thread and conclusion.
The introduction part mainly is Ross's creative process and creative style, Ross's research status at home and abroad as well as the innovative points and research methods of this subject, which have been combed and analyzed in order to make the following specific analysis the background and the role of paving, in order to grasp the overall situation and prevent the one-sided analysis.
The first chapter mainly analyzes the complexity and contradiction of the four main female images of the three novels I have included in my life as a man: < the young age > the Jewish maiden Sharon Chatskiy in the uninformed age; < Lidia Kettler from love >; < my true story > the wife Mo Lin and the lover Susan. The complexity and contradiction of the four main female images and detailed analysis points out their commonality, contradiction, and the different attitudes and multiple meanings of the protagonists to the six.
The second chapter makes a detailed analysis of the background meaning and artistic techniques of the life of a man as a man. It mainly discusses the shape and plastic relationship between Ross and her works and the fusion of fictional and true two yuan to prove that the author Ross doped a great deal of self society in the work and the molding of human beings in the special culture. Life experience.
The third chapter is further deepened on the basis of the first two chapters. Through the pluralistic meaning of an intricate and alternating female image created by Ross, it points out the correspondence between the non Jewish woman and Maureen and the autonomy of American multiculturalism; the correspondence between Sharon and Susan in Jewish women and the tradition in the Jewish culture. The symbolic meaning further points out Ross's self transcendence in the fetters of gender differences and cultural differences, exploring Ross's exploration of the universal meaning of human being and the yearning for and pursuit of absolute freedom.
In the concluding part, the main points and structure of the previous article are further combed, and the influence and significance of Ross's creation on the history of literature are pointed out, and the innovation points and shortcomings of this article and the expectation of Ross's further research are also clarified.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I712.074

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