《我的名字叫紅》欲望意蘊(yùn)分析
發(fā)布時(shí)間：2018-08-29 16:41
【摘要】：土耳其作家奧爾罕·帕慕克（1952—）因其創(chuàng)作體現(xiàn)出極高的藝術(shù)水平和不斷觸及東西方文化的相互關(guān)系問題而廣受贊譽(yù)。帕慕克的作品普遍表現(xiàn)了一個(gè)問題，那就是該如何處理東西方文化差異的問題。帕慕克在提出問題之后，一般不會(huì)為讀者直接解答，他總是在作品中設(shè)置一個(gè)時(shí)刻牽引著讀者的心的懸念。 本文主要通過對(duì)作品的細(xì)度，在借鑒已有著名文學(xué)評(píng)論家的評(píng)論的基礎(chǔ)上，主要從作者的寫作動(dòng)機(jī)、作品的內(nèi)容、作品的形式特點(diǎn)、以及對(duì)作品中主要意象的分析這幾大方面來(lái)對(duì)文本進(jìn)行分析與解讀。 帕慕克的作品《我的名字叫紅》為我們呈現(xiàn)出了在儒家文化背景下的讀者所不熟悉的伊斯蘭教國(guó)家和蘇菲的神秘主義。本文通過對(duì)土耳其的地理環(huán)境、歷史文化、政治經(jīng)濟(jì)以及宗教信仰等方面的分析來(lái)深入細(xì)致的研究該部作品。在此基礎(chǔ)上，，作者帕慕克還從薩義德的《東方學(xué)》中提取有利理論，用自我與他者的關(guān)系來(lái)說(shuō)明有關(guān)東西方文化存在差異的問題。另外，雅克·拉康的鏡像學(xué)理論也生動(dòng)有力地說(shuō)明了帕慕克對(duì)異質(zhì)文化發(fā)展的合理推論。認(rèn)為文化不是客觀的。“紅”并不是東西方文化性質(zhì)的沖突，這種性質(zhì)的沖突本身就是一個(gè)偽命題。在東西方文明沖突的背后所隱藏著的“紅”的實(shí)質(zhì)其實(shí)就是個(gè)人心中的欲望，這種欲望不僅深刻地體現(xiàn)在個(gè)人的身上，也體現(xiàn)在集體之中，只不過是將這種赤裸裸的欲望用維護(hù)傳統(tǒng)的外衣將之包裹，從而使欲望合法化罷了。異質(zhì)文化的沖突其實(shí)無(wú)時(shí)無(wú)刻不發(fā)生在每一個(gè)與之相關(guān)的人身上，只不過是當(dāng)它加之在具體的人物身上時(shí)，這種沖突的程度和立場(chǎng)是不同的。作者帕慕克巧妙地把來(lái)自東西方不同的藝術(shù)表現(xiàn)手法都運(yùn)用到自己的作品中來(lái)，因而整部作品具有一種獨(dú)特的藝術(shù)風(fēng)格。帕慕克在全書59章中一共進(jìn)行了58次的視角轉(zhuǎn)換。并且在每一個(gè)角色出場(chǎng)時(shí)，都要帶著他的敘述特點(diǎn)，向廣大讀者們展現(xiàn)了他的獨(dú)特的視角范圍內(nèi)的全知的一面，也可以說(shuō)是向讀者們展示了一個(gè)“透視區(qū)域”。此外作者認(rèn)為這部小說(shuō)其實(shí)旨在探討普世價(jià)值觀中的欲望，正是因?yàn)檫@種本能欲望的存在，才導(dǎo)致了東西方文化的沖突，就文化本身本而言事沒有沖突存在的�！段业拿纸屑t》以其獨(dú)特的復(fù)調(diào)敘事方式為我們勾勒了四個(gè)層面的欲望。
[Abstract]:The Turkish writer Orhan Pamuk (1952-) is praised for his work, which embodies a very high artistic level and constantly touches on the interrelationship between eastern and western cultures. There is a general question in Pamuk's works about how to deal with the cultural differences between the East and the West. Pamuk does not answer directly to the reader after asking questions. He always sets a moment of suspense in his works. This paper mainly through the fineness of the work, on the basis of drawing lessons from the comments of famous literary critics, mainly from the author's writing motivation, the content of the work, the form characteristics of the work. And the analysis of the main images in the works to analyze and interpret the text. Pamuk's work, my name Red, presents us with the mysticism of the Islamic state and Sophie that readers in the Confucian context are unfamiliar with. Through the analysis of Turkey's geographical environment, history and culture, political economy and religious belief, this paper makes a thorough and detailed study of this work. On the basis of this, the author also extracts the favorable theory from said's Orientalism, and explains the differences between eastern and western cultures by the relationship between self and others. In addition, Jacques Lacan's theory of mirror image vividly illustrates Pam's rational inference on the development of heterogeneous culture. Think culture is not objective. Red is not a conflict between Eastern and Western cultures, but a false proposition. The essence of the "red" hidden behind the clash of civilizations between the East and the West is in fact the desire of the individual, which is deeply embodied not only in the individual, but also in the collective. This naked desire is merely legalized by wrapping it in a protective coat. In fact, the conflict of heterogeneous culture occurs all the time in every relative person, but when it is added to the concrete person, the degree and position of the conflict are different. The author skillfully applies the different artistic expressions from the East and the West to his works, so the whole work has a unique artistic style. Pamuk has made 58 changes of perspective in the 59 chapters of the book. And when each character comes on stage, he should bring his narrative characteristics to show the readers the omniscient side of his unique angle of view, which can be said to show the reader a "perspective area". In addition, the author believes that this novel is actually aimed at exploring the desire in universal values, and it is precisely because of the existence of this instinctive desire that it leads to the conflict between eastern and western cultures. As far as culture itself is concerned, there is no conflict. "my name is Red" outlines four levels of desire for us with its unique polyphonic narrative.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I374.074
本文編號(hào)：2211792
[Abstract]:The Turkish writer Orhan Pamuk (1952-) is praised for his work, which embodies a very high artistic level and constantly touches on the interrelationship between eastern and western cultures. There is a general question in Pamuk's works about how to deal with the cultural differences between the East and the West. Pamuk does not answer directly to the reader after asking questions. He always sets a moment of suspense in his works. This paper mainly through the fineness of the work, on the basis of drawing lessons from the comments of famous literary critics, mainly from the author's writing motivation, the content of the work, the form characteristics of the work. And the analysis of the main images in the works to analyze and interpret the text. Pamuk's work, my name Red, presents us with the mysticism of the Islamic state and Sophie that readers in the Confucian context are unfamiliar with. Through the analysis of Turkey's geographical environment, history and culture, political economy and religious belief, this paper makes a thorough and detailed study of this work. On the basis of this, the author also extracts the favorable theory from said's Orientalism, and explains the differences between eastern and western cultures by the relationship between self and others. In addition, Jacques Lacan's theory of mirror image vividly illustrates Pam's rational inference on the development of heterogeneous culture. Think culture is not objective. Red is not a conflict between Eastern and Western cultures, but a false proposition. The essence of the "red" hidden behind the clash of civilizations between the East and the West is in fact the desire of the individual, which is deeply embodied not only in the individual, but also in the collective. This naked desire is merely legalized by wrapping it in a protective coat. In fact, the conflict of heterogeneous culture occurs all the time in every relative person, but when it is added to the concrete person, the degree and position of the conflict are different. The author skillfully applies the different artistic expressions from the East and the West to his works, so the whole work has a unique artistic style. Pamuk has made 58 changes of perspective in the 59 chapters of the book. And when each character comes on stage, he should bring his narrative characteristics to show the readers the omniscient side of his unique angle of view, which can be said to show the reader a "perspective area". In addition, the author believes that this novel is actually aimed at exploring the desire in universal values, and it is precisely because of the existence of this instinctive desire that it leads to the conflict between eastern and western cultures. As far as culture itself is concerned, there is no conflict. "my name is Red" outlines four levels of desire for us with its unique polyphonic narrative.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I374.074
【參考文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 伊國(guó)棟;對(duì)土耳其加入歐盟的文化分析[D];山東大學(xué);2008年
本文編號(hào)：2211792
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