【摘要】：羅杰·馬丁·杜加爾(Roger Marin du Gard,1881-1958)是法國(guó)二十世紀(jì)上半葉最杰出的現(xiàn)實(shí)主義作家之一。他的長(zhǎng)篇小說(shuō)《蒂博一家》(1922-1940)因“以真實(shí)有力的藝術(shù)手法描繪了人性沖突和當(dāng)代生活中的某些重要層面”而獲得1937年諾貝爾文學(xué)獎(jiǎng)。這部小說(shuō)的獲獎(jiǎng)有著深刻的社會(huì)和現(xiàn)實(shí)意義,因此,探索小說(shuō)中的主要社會(huì)關(guān)系與該社會(huì)的現(xiàn)實(shí)原型是理解《蒂博一家》以及馬丁·杜加爾文學(xué)創(chuàng)作的關(guān)鍵。 馬丁·杜加爾研究在國(guó)外已頗具規(guī)模,目前既有的研究成果主要關(guān)注作家對(duì)待政治的態(tài)度、作家的敘事技巧、作家在戲劇方面的成就、作家對(duì)戰(zhàn)爭(zhēng)以及宗教看法的變遷、作家的人道主義等等。在對(duì)《蒂博一家》小說(shuō)內(nèi)容的研究、對(duì)馬丁·杜加爾日記和通信集的探索、對(duì)《蒂博一家》在中國(guó)的接受和翻譯研究方面,尚留有較大的空白。本論文結(jié)合文學(xué)社會(huì)學(xué)、文本分析以及比較文學(xué)等相關(guān)理論與研究方法,選取《蒂博一家》中的社會(huì)關(guān)系作為研究重點(diǎn),從作品中的法國(guó)社會(huì)以及人的生存狀況,作品產(chǎn)生之前的法國(guó)社會(huì)及作者所處的環(huán)境,作品問(wèn)世后在中國(guó)社會(huì)中的接受三個(gè)角度,對(duì)作品的人物塑造及其和社會(huì)的關(guān)系進(jìn)行深入探究,并對(duì)影響這部作品生成的作家個(gè)人經(jīng)歷、文學(xué)觀、哲學(xué)觀和世界觀加以闡釋。本論文將是國(guó)內(nèi)馬丁·杜加爾研究的首部專著。 論文主要分為三大部分。第一部分探討家庭、兩性、社會(huì)和人類命運(yùn)在《蒂博一家》中的具體呈現(xiàn),闡述作品對(duì)人與社會(huì)、人與世界之關(guān)系的理解�！兜俨┮患摇分械募彝リP(guān)系主要分為父子關(guān)系與兄弟關(guān)系,代表人物為雅克和蒂博先生、雅克與安托萬(wàn)。這兩類關(guān)系均表現(xiàn)出愛恨交織、親疏兩難的復(fù)雜性。在這種關(guān)系中,意識(shí)形態(tài)起了較大的作用,體現(xiàn)出社會(huì)與階級(jí)對(duì)家庭、對(duì)人物在家庭中的身份造成的影響。在《蒂博一家》的兩性關(guān)系中,男性往往徘徊于肉體之愛與精神之愛之間,而女性則掙扎于對(duì)男性的依賴與對(duì)獨(dú)立的向往之中。小說(shuō)中戰(zhàn)前的女性形象遠(yuǎn)不及對(duì)男性人物的刻畫。一戰(zhàn)的爆發(fā)在一定程度上打破了兩性關(guān)系的原有格局,女性的社會(huì)地位有所上升。戰(zhàn)爭(zhēng)既受社會(huì)意識(shí)形態(tài)和經(jīng)濟(jì)關(guān)系的制約,又影響社會(huì)關(guān)系和社會(huì)發(fā)展方向。再次,《蒂博一家》的故事情節(jié)發(fā)生于二十世紀(jì)初政教分離之后、宗教受到科學(xué)的劇烈沖擊之時(shí),但天主教徒與新教徒之間的仇視,信徒與無(wú)神論者之間的隔閡仍然十分突出；小說(shuō)中工人階級(jí)與資產(chǎn)階級(jí)之間的矛盾則呼應(yīng)了二十世紀(jì)初法國(guó)風(fēng)起云涌的社會(huì)運(yùn)動(dòng)。雖然小說(shuō)中諸多人物在輩分、性別、職業(yè)、信仰、意識(shí)形態(tài)諸方面各據(jù)其位,甚至互成對(duì)立之勢(shì),但小說(shuō)的重心在于人物共同的悲劇命運(yùn)：對(duì)孤獨(dú)的抵抗、對(duì)死亡的恐懼、人與人之間的溝通難度、精神與肉體之間的對(duì)立、歷史與社會(huì)現(xiàn)實(shí)的無(wú)情等等。作者由此將讀者的目光導(dǎo)向全人類共同的生存條件,使小說(shuō)超越了個(gè)體與時(shí)空的局限。 本文第二部分分析了《蒂博一家》中社會(huì)關(guān)系的原型,社會(huì)現(xiàn)實(shí)對(duì)馬丁·杜加爾世界觀、文學(xué)觀的塑造以及外界對(duì)《蒂博一家》創(chuàng)作過(guò)程的影響。首先通過(guò)對(duì)作家日記與通信集的研究,將作家對(duì)人的生存狀況的理解分為家庭、愛情、宗教、死亡、戰(zhàn)爭(zhēng)五大方面。作家本人的生活經(jīng)歷和內(nèi)心世界充滿矛盾：樂(lè)觀與悲觀,叛逆與保守,愛情與友誼,對(duì)人性缺點(diǎn)的清醒認(rèn)識(shí)和對(duì)人類命運(yùn)的深切同情,對(duì)宗教價(jià)值的認(rèn)識(shí)與對(duì)教會(huì)濫權(quán)的憎惡等等�！兜俨┮患摇吩谝欢ǔ潭壬峡杀灰暈樽詡餍孕≌f(shuō),但是其自傳性并不在于作家個(gè)人生活的再現(xiàn)和藝術(shù)化,而在于作家力圖將個(gè)人對(duì)人類生存狀況的觀察與思索濃縮提煉,而后注入種種性格迥異然而具有普遍代表性的人物,通過(guò)書中人物的日常生活、對(duì)話以及內(nèi)心獨(dú)白而達(dá)到感染讀者的目的。為此,作家在認(rèn)同托爾斯泰對(duì)其創(chuàng)作影響的基礎(chǔ)之上,確定了具體的創(chuàng)作方法,主要表現(xiàn)為：注重人物的真實(shí)與生動(dòng),對(duì)心理世界的深入挖掘,作家的客觀與冷靜,素材的積累與史料的翔實(shí),對(duì)形式與內(nèi)容辯證關(guān)系的認(rèn)識(shí),對(duì)作品總體和局部關(guān)系的把握,對(duì)“是”、“似”、“非”的拿捏,等等。在馬丁·杜加爾看來(lái),上述創(chuàng)作方法與其《新法蘭西評(píng)論》的眾多好友的創(chuàng)作方法截然不同,既繼承了現(xiàn)實(shí)主義傳統(tǒng)和前人嚴(yán)謹(jǐn)?shù)膭?chuàng)作態(tài)度,又摒棄了諸如描述過(guò)于冗長(zhǎng),行文銜接不夠自然的一些缺點(diǎn)。盡管如此,馬丁·杜加爾的成功與《新法蘭西評(píng)論》密不可分,二三十年代《新法蘭西評(píng)論》的核心作家對(duì)《蒂博一家》的創(chuàng)作亦起了很大的影響。紀(jì)德、加斯東·伽利馬、施倫伯格、杜阿梅爾、雅克·科波等皆以各自的方式幫助作者堅(jiān)定自己的文學(xué)創(chuàng)作觀,加強(qiáng)《蒂博一家》的藝術(shù)真實(shí)。在《新法蘭西評(píng)論》歷經(jīng)一個(gè)世紀(jì)的風(fēng)雨之后,對(duì)創(chuàng)刊之初該社作家之間的文學(xué)友誼做一回顧總結(jié),有利于我們更好地理解當(dāng)時(shí)的法國(guó)社會(huì)以及文學(xué)在社會(huì)中的地位與影響。 本文最后一部分首先介紹了馬丁·杜加爾的作品在中國(guó)的接受現(xiàn)狀。雖然他的作品大部分被譯成中文,但相關(guān)研究卻非常單薄,讀者也越來(lái)越少�！兜俨┮患摇酚�1992年之后未再版。為抓住這種現(xiàn)象的本質(zhì),本文在注重小說(shuō)翻譯與社會(huì)歷史現(xiàn)實(shí)之間的關(guān)系的基礎(chǔ)上,從人們生活方式的改變、讀者閱讀習(xí)慣的變遷、中西讀者對(duì)戰(zhàn)爭(zhēng)的不同看法、中國(guó)讀者對(duì)法國(guó)小說(shuō)的期待視野、評(píng)論家對(duì)小說(shuō)接受的影響、社會(huì)意識(shí)形態(tài)對(duì)文學(xué)的制約等方面尋找《蒂博一家》在中國(guó)缺少讀者的根本原因。最后一章對(duì)《蒂博一家》和巴金的《激流三部曲》進(jìn)行了平行研究。這兩部作品幾乎完成于同一時(shí)期,雖然它們的社會(huì)歷史背景有很大差異,但在對(duì)家庭、兩性、社會(huì)、宗教四大關(guān)系理解和處理上卻有許多相似之處：通過(guò)描寫同胞兄弟的故事,來(lái)展現(xiàn)青年一代如何面對(duì)父權(quán)和家庭沖突,在風(fēng)云變幻的社會(huì)環(huán)境之中為新生活而奮斗。蒂博兩兄弟和高家三兄弟都生活在父權(quán)的桎梏之下、同胞的隔閡之中,但是他們對(duì)父親和兄弟懷有溫情,渴盼家人的理解。小說(shuō)初始,女性人物的社會(huì)地位都比較低,但是隨著故事的發(fā)展和時(shí)間的推進(jìn),女性在人身和思想上都漸漸得到解放,也越來(lái)越懂得爭(zhēng)取自己的權(quán)益。從社會(huì)層面來(lái)看,兩部小說(shuō)都描寫了無(wú)產(chǎn)階級(jí)力量的崛起和統(tǒng)治階級(jí)(《蒂博一家》中的大資產(chǎn)階級(jí)和《激流》中的封建階級(jí))的衰落乃至解體。同時(shí),兩部小說(shuō)還描寫了宗教信仰(天主教或儒家)的僵化以及新思想給主流思想帶來(lái)的沖擊。雖然表面上兩部作品對(duì)這些主流思想持反對(duì)態(tài)度,但實(shí)質(zhì)上都是反對(duì)人對(duì)宗教的歪曲和為私利而利用宗教的社會(huì)現(xiàn)實(shí),激發(fā)讀者回到宗教的源頭,并思索人與人、人與自我之間的關(guān)系。 馬丁·杜加爾的《蒂博一家》真實(shí)描繪了一幅二十世紀(jì)初法國(guó)社會(huì)的畫卷。在社會(huì)環(huán)境及個(gè)人生活經(jīng)歷的影響下,在對(duì)真理和文學(xué)的不懈追求中,作者著力刻畫社會(huì)關(guān)系對(duì)人的制約、人在社會(huì)中的困惑和彷徨以及人面對(duì)命運(yùn)時(shí)西緒弗斯式的努力。這些主題貫穿于《蒂博一家》之中,不僅貼合二十世紀(jì)初法國(guó)社會(huì)的脈搏,在當(dāng)今社會(huì)仍然具有深刻的現(xiàn)實(shí)意義。
[Abstract]:Roger Marin Du Gard (1881-1958) is one of the most outstanding French realistic writers in the first half of the twentieth century. His novel The Tibers (1922-1940) won the Nobel Prize for Literature in 1937 for "depicting the conflict of human nature and certain important aspects of contemporary life in a truly powerful artistic way." The award-winning novel has profound social and practical significance. Therefore, exploring the main social relations and the realistic prototype of the society in the novel is the key to understanding the Tibers and Martin Dugar's literary creation.
Martin Dugar's research abroad has been quite large-scale. The existing research results mainly focus on writers'attitude towards politics, writers' narrative skills, writers'achievements in drama, writers' changes in views of war and religion, writers'humanitarianism and so on. There is still a big gap in the study of the acceptance and translation of the Tibers in China. This paper, based on the theories and methods of literary sociology, text analysis and comparative literature, selects the social relations in the Tibers as the research focus, from the French society and people in the works. This paper makes a thorough inquiry into the characterization of the work and its relationship with society from three perspectives: the living conditions of the French society before the production of the work, the environment in which the author lived, and the acceptance of the work in Chinese society after its publication. It also explains the writer's personal experiences, literary views, philosophical views and world outlook which influence the production of the work. Wen will be the first monograph written by Martin Dugal in China.
The first part discusses the concrete presentation of family, gender, society and human destiny in the Tibers, and expounds the understanding of the relationship between man and society, man and the world. Antoine. These two kinds of relationships show the complexity of love and hate and the dilemma of intimacy and estrangement. The outbreak of World War I broke the original pattern of the relationship between the sexes to a certain extent, and women's social status rose. The war was restricted by social ideology and economic relations, but also affected. Thirdly, after the separation of church and state in the early twentieth century, religion was severely impacted by science, but the animosity between Catholics and Protestants, the estrangement between believers and atheists, and the working class and the bourgeoisie in the novel are still very prominent. Contradictions echo the surging social movements in France in the early twentieth century. Although many characters in the novel are in opposition to each other in terms of rank, sex, occupation, belief and ideology, the focus of the novel lies in the common tragic fate of the characters: resistance to loneliness, fear of death, and the gulf between people. The author directs the reader's attention to the common living conditions of all mankind, thus making the novel transcend the limitations of individual and time and space.
The second part of this paper analyzes the prototype of social relations in the Tibers, the influence of social reality on Martin Dugar's world outlook, the shaping of literary outlook and the influence of the outside world on the creative process of the Tibers. The writer's own life experience and inner world are full of contradictions: optimism and pessimism, rebellion and conservatism, love and friendship, a clear understanding of human shortcomings and deep sympathy for the fate of mankind, an understanding of religious values and an abhorrence of church abuse, etc. can be regarded as autobiographical to some extent. The Autobiography of the novel, however, does not lie in the reappearance and artistry of the writer's personal life, but in the writer's efforts to condense and refine his personal observations and Reflections on the living conditions of mankind, and then inject into various characters with different but universal representations, through the daily life of the characters in the book, dialogue and inner monologue to achieve infection. Therefore, on the basis of identifying Tolstoy's influence on his writing, the writer determines the specific methods of his writing, which mainly include: paying attention to the truth and vividness of the characters, digging deep into the psychological world, the writer's objectivity and calmness, the accumulation of material and the fullness of historical materials, the understanding of the dialectical relationship between form and content. In Martin Dugar's view, the above-mentioned creative methods are quite different from those of many of his friends in the New French Review, which inherits the tradition of realism and the rigorous creative attitude of predecessors, and abandons the over-lengthy description. Nevertheless, Martin Dugar's success was closely related to the New French Review, and the core writers of the New French Review in the 1920s and 1930s had a great influence on the creation of the Tibers. After a century of hardships and hardships in the New French Review, a retrospective summary of the literary friendship between the writers at the beginning of the publication will help us to better understand the French society at that time and the status of literature in society. Influence.
The last part of this paper first introduces the acceptance of Martin Dugar's works in China. Although most of his works have been translated into Chinese, the relevant studies are very weak and the readers are getting fewer and fewer. On the basis of the relationship between reality and reality, the author tries to find the root of the lack of readers in China from the aspects of the change of people's life style, the change of readers'reading habits, the different views of Chinese and Western readers on the war, the expectation of Chinese readers on French novels, the influence of critics on the acceptance of novels, and the restriction of social ideology on literature. The last chapter is a parallel study of the Tibers and Bajin's Rapids Trilogy. These two works are almost completed in the same period. Although their social and historical backgrounds are quite different, they have many similarities in understanding and handling the four major relationships of family, gender, society and religion: by describing the brothers of their countrymen. The story shows how the younger generation struggles for a new life in the changing social environment in the face of patriarchal and family conflicts. Both the two brothers and the three brothers live under the yoke of patriarchal power and the estrangement of their compatriots, but they have warm feelings for their fathers and brothers and long for the understanding of their families. Both novels describe the rise of proletarian power and the ruling class (< the Tiberians > the big bourgeoisie and < the torrent > from a social perspective. At the same time, the two novels depict the rigidity of religious beliefs (Catholicism or Confucianism) and the impact of new ideas on the mainstream ideology. Although the two novels seem to oppose these mainstream ideas, they are essentially against the distortion of religion and the use of religion for personal gain. Social reality stimulates readers to return to the source of religion and ponder the relationship between man and man, between man and himself.
Martin Dugar's The Tibers truly portrayed a picture of French society in the early twentieth century. Influenced by the social environment and personal life experience, and in his unremitting pursuit of truth and literature, the author focuses on describing the constraints of social relations on human beings, the confusion and hesitation of human beings in society, and the Sisyphus-style of human beings in the face of their fate. Efforts. These themes run through the Tibers, not only in line with the pulse of the early twentieth century French society, in today's society still has a profound practical significance.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：I565.074
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本文編號(hào)：2240525

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