《我的名字叫紅》的文化研究
發(fā)布時間：2018-11-25 14:43
【摘要】：本文從文化方面入手，在文本細讀的基礎上，試圖以霍米巴巴的后殖民主義理論來研究《我的名字叫紅》中的一些文化特點。本文從以下三個方面展開，第一部分從小說的呼愁主題入手，探討了文本中由東西方文化沖突導致的土耳其人的文化身份危機現(xiàn)象以及其成因。土耳其由于特定的地理位置和歷史文化，形成了獨特的文化身份，既不屬于東方也不屬于西方，因此對于東西方文化的入侵雖然感到焦慮，但又不得不學習東西兩方的優(yōu)點。第二部分從傳統(tǒng)和后現(xiàn)代這兩種敘事手法的運用，文本中的各種意象的含義，，以及不同人物對待繪畫藝術的不同態(tài)度三個方面來分析小說的文化混雜特質，從而研究帕慕克的混雜理論在小說中的應用和體現(xiàn)。傳統(tǒng)敘事特點體現(xiàn)在整篇小說全部以第一人稱有限視角敘事，每章變換不同的敘事者。后現(xiàn)代敘事特點體現(xiàn)在文類混雜，利用各種非常規(guī)的敘事者來打破故事的連續(xù)性和完整性。文本中的意象眾多，本文選取了兩組對立統(tǒng)一的，能夠體現(xiàn)帕慕克混雜理論的意象來加以分析。一組是紅色和綠色，紅色在文本中是世俗幸福以及創(chuàng)造力的象征，綠色代表了宗教和傳統(tǒng)對于人的束縛。另一組是盲人和看得見的人。盲人象征著固步自封，墨守成規(guī)的保守派，看得見的人則象征著以開放的心態(tài)接受外來文化的人們。文本中的人物大致可以分為三組：畫師高雅先生和奧斯曼大師是傳統(tǒng)細密畫家的代表；蘇丹和姨父大人主張向西方學習油畫和透視技巧；兇手橄欖和黑先生則認為東西方藝術應該交流融合。這些意象和人物的設置表現(xiàn)出帕慕克對于各種文化思想的尊重以及對于多元文化和諧共存的期待。第三部分對于土耳其傳統(tǒng)文化的衰落、西方的生活方式和文化思想的入侵，到兩種文化相最終相融合的現(xiàn)象及其原因進行了探究，著重分析土耳其現(xiàn)代化進程中的文化演變過程，從而得出結論，引起文化沖突交流演變的原因在于傳統(tǒng)與現(xiàn)代的矛盾，最終取決于生產(chǎn)力水平的發(fā)展。
[Abstract]:On the basis of careful reading of the text, this paper attempts to study some cultural characteristics in my name Red by using HomiBaba's postcolonial theory. The first part begins with the theme of exclamation in the novel and probes into the cultural identity crisis of Turks caused by the conflict between East and West cultures in the text and its causes. Turkey, because of its special geographical location and historical culture, has formed its unique cultural identity, which neither belongs to the East nor the West, so it is anxious about the invasion of the Eastern and Western cultures, but it has to learn the advantages of both the East and the West. The second part analyzes the cultural hybrid characteristics of the novel from three aspects: the use of traditional and post-modern narrative techniques, the meanings of various images in the text, and the different attitudes of different characters towards painting art. In order to study the application and embodiment of Pamuk's hybrid theory in the novel. The characteristic of traditional narration is that the whole novel is narrated from the first person's limited angle of view, with different narrators in each chapter. The characteristics of post-modern narration lie in the mixing of literary types and the use of various unconventional narrators to break the continuity and integrity of the story. There are many images in the text. One group is red and green, red in the text is the symbol of secular happiness and creativity, green represents the religious and traditional constraints on human beings. The other group is blind and visible. Blind people symbolize self-fixed, conservative, and visible people who accept foreign cultures with an open mind. The characters in the text can be roughly divided into three groups: the painters, Mr. elegant and the Master Osman are the representatives of the traditional meticulous painters, the Sultan and his uncle advocate learning oil painting and perspective techniques from the West; Mr. Olive and Mr. Black, the murderer, believe that eastern and western art should be intermingled. The setting of these images and characters shows Pam's respect for all kinds of cultural thoughts and his expectation for the harmonious coexistence of multiculturalism. The third part explores the decline of the Turkish traditional culture, the invasion of the western way of life and cultural thought, and the phenomenon and reasons of the two cultures finally merging together. The cultural evolution process in the process of Turkish modernization is analyzed, and the conclusion is drawn that the reason for the evolution of cultural conflict lies in the contradiction between tradition and modernity, and ultimately depends on the development of productive forces.
【學位授予單位】：湖南大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I374.074
本文編號：2356476
[Abstract]:On the basis of careful reading of the text, this paper attempts to study some cultural characteristics in my name Red by using HomiBaba's postcolonial theory. The first part begins with the theme of exclamation in the novel and probes into the cultural identity crisis of Turks caused by the conflict between East and West cultures in the text and its causes. Turkey, because of its special geographical location and historical culture, has formed its unique cultural identity, which neither belongs to the East nor the West, so it is anxious about the invasion of the Eastern and Western cultures, but it has to learn the advantages of both the East and the West. The second part analyzes the cultural hybrid characteristics of the novel from three aspects: the use of traditional and post-modern narrative techniques, the meanings of various images in the text, and the different attitudes of different characters towards painting art. In order to study the application and embodiment of Pamuk's hybrid theory in the novel. The characteristic of traditional narration is that the whole novel is narrated from the first person's limited angle of view, with different narrators in each chapter. The characteristics of post-modern narration lie in the mixing of literary types and the use of various unconventional narrators to break the continuity and integrity of the story. There are many images in the text. One group is red and green, red in the text is the symbol of secular happiness and creativity, green represents the religious and traditional constraints on human beings. The other group is blind and visible. Blind people symbolize self-fixed, conservative, and visible people who accept foreign cultures with an open mind. The characters in the text can be roughly divided into three groups: the painters, Mr. elegant and the Master Osman are the representatives of the traditional meticulous painters, the Sultan and his uncle advocate learning oil painting and perspective techniques from the West; Mr. Olive and Mr. Black, the murderer, believe that eastern and western art should be intermingled. The setting of these images and characters shows Pam's respect for all kinds of cultural thoughts and his expectation for the harmonious coexistence of multiculturalism. The third part explores the decline of the Turkish traditional culture, the invasion of the western way of life and cultural thought, and the phenomenon and reasons of the two cultures finally merging together. The cultural evolution process in the process of Turkish modernization is analyzed, and the conclusion is drawn that the reason for the evolution of cultural conflict lies in the contradiction between tradition and modernity, and ultimately depends on the development of productive forces.
【學位授予單位】：湖南大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I374.074
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