發(fā)布時(shí)間：2018-07-28 13:23

【摘要】：J.M.庫(kù)切作品中主人公的基本命運(yùn)可以概括為：總是淪為局外人,一次次令人驚訝地介入。這些主人公們由于遭遇歷史和現(xiàn)實(shí)政治的沖撞、日常變故的襲擊、衰老與疾病等自然屬性導(dǎo)致的墜落而淪為局外人,陷入了痛苦的邊緣情境。于是,他們不得不以局外人的身份面對(duì)世界邊緣上的邊界狀態(tài),探尋合適的介入途徑,以擺脫身處邊緣的困境。面對(duì)邊緣情境,庫(kù)切的主人公們有的采取了主動(dòng)應(yīng)對(duì)的態(tài)度,成為西緒福斯式的反抗者；有的則依憑自我的本能不斷逃避；也有人在困境中躊躇不前不知所往。他們應(yīng)對(duì)、逃避、躊躇的過(guò)程,也是他們自身命運(yùn)不斷下降的痛苦過(guò)程。然而,在命運(yùn)的最低谷,他們?cè)馐艽驌簟⒊翜S落魄乃至被剝奪了外在的尊嚴(yán)之后,總是能夠奇跡般地獲得重新站起來(lái)的力量。庫(kù)切以眾多的作品呈示了一個(gè)反復(fù)建構(gòu)的模式：盤(pán)旋下降的命運(yùn)是其人物拯救靈魂的必要途徑。懸置的文化認(rèn)同,懸置的祖國(guó)南非,使得庫(kù)切自傳體小說(shuō)三部曲中的主人公約翰·庫(kù)切在世界上任何一個(gè)地方都缺乏存在的根基。從《男孩》到《青春》、《夏日》,無(wú)根的異鄉(xiāng)人命運(yùn)如影隨形、根深蒂固。這一無(wú)根的命運(yùn)令約翰·庫(kù)切一生處于局外境遇,備感孤離。為了克服由此帶來(lái)的巨大的精神痛苦,約翰·庫(kù)切經(jīng)歷了自身命運(yùn)的下降,卻執(zhí)著地以寫(xiě)作的方式努力實(shí)現(xiàn)了自我靈魂的拯救�？ǚ蚩ㄊ呛饬科渌骷业闹匾獦�(biāo)桿,且對(duì)庫(kù)切影響深遠(yuǎn)。兩位作家作品中的人物命運(yùn)同中有異,異中有同�？ǚ蚩ǖ娜宋飩円�?yàn)椤霸铩彼查g墜入邊緣情境,這一情境奠定了他們未來(lái)命運(yùn)的基調(diào),他們的努力永遠(yuǎn)是徒勞。庫(kù)切的人物們則因具體的事件而遭遇邊緣情境,且這只是他們故事的開(kāi)始。他們?cè)谶吘壡榫持型纯鄬で蠼槿氲倪^(guò)程,艱難見(jiàn)證了我們這個(gè)時(shí)代被遮蔽的種種隔離；而他們?cè)诿\(yùn)降下的最低處重新站起來(lái)的經(jīng)歷最終表明,神圣的人性之火一定能夠照亮那些幽暗之地。
[Abstract]:J.M. The basic fate of the protagonists in Kuche's works can be summed up as follows: always becoming an outsider and intervening amazingly again and again. These protagonists fall into an outsider because of the collision of history and politics, the attack of daily changes, the fall of aging and disease and so on, and they fall into a painful marginal situation. As a result, they have to face the border state on the edge of the world as an outsider and seek suitable ways of intervention to get rid of the predicament on the edge. Faced with the marginal situation, some of Kuche's protagonists take the initiative to deal with the situation and become the resistance of Seussure; others run away from each other by their own instinct; others hesitate to know what to do in the difficult situation. Their process of coping, escaping, and hesitating is also a painful process of their own declining destiny. However, at the lowest point of fate, they are always miraculously able to regain the power to stand up after being hit, sunk, and even deprived of their external dignity. Kuche presents a pattern of repeated construction in his numerous works: the fate of hovering and falling is the necessary way for his characters to save their souls. The suspended cultural identity and the suspended motherland South Africa make the protagonist John Kutcher in the trilogy of Kuche's autobiographical novels lack the foundation of existence in any part of the world. From Boys to Youth, Summer, the fate of rootless aliens is ingrained. This rootless fate left John Kutcher in an out-of-the-box situation and a sense of isolation. In order to overcome the great spiritual pain, John Kuchet has experienced the decline of his own destiny, but has worked hard to realize the salvation of his own soul in the way of writing. Kafka is an important benchmark for other writers and has a profound impact on Kuche. The fates of the characters in the works of the two writers are different from each other. Kafka's characters fall to the edge of the moment because of original sin, which sets the tone of their future destiny, and their efforts are always in vain. Kuche's characters are at the edge of events, and this is just the beginning of their story. Their painful search for intervention in a marginal context is a difficult witness to the isolation of our time, and their experience of getting back to their feet at the lowest point of fate finally shows that, The sacred fire of humanity must illuminate the dark places.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I478.074
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本文編號(hào)：2150290