【摘要】：悲劇，作為一個(gè)重要的文學(xué)體裁，在《去日留痕》（又譯《長(zhǎng)日將盡》）一書中得到了淋漓盡致的體現(xiàn)。該書涉及的題材相當(dāng)廣泛，，包涵了精英政治，世界史，忠誠(chéng)，壓抑的愛，尊嚴(yán)與偉大，失去與遺憾，東方智慧，文化沖突以及英國(guó)風(fēng)物等諸多和悲劇相關(guān)的因素。一些評(píng)論家從后殖民主義理論的角度對(duì)該小說作品進(jìn)行了評(píng)判，另外一些則對(duì)小說的作品風(fēng)格進(jìn)行了評(píng)論，還有一些評(píng)論重點(diǎn)分析了人物的個(gè)人悲劇。本文從亞里士多德和尼采的悲劇理論出發(fā)，不僅討論了諸如盲目服從，追求虛幻等導(dǎo)致作品中主要人物的悲劇的因素，而且探討了構(gòu)成悲劇沖突的日神和酒神精神以及陡轉(zhuǎn)與發(fā)現(xiàn)這些引起悲劇快感的元素。 本文第一章評(píng)述了學(xué)者和讀者們從后殖民理論，文化沖突理論等角度對(duì)《去日留痕》進(jìn)行的解讀。第二章討論了悲劇，這個(gè)始于亞里士多德的《詩學(xué)》，成熟于尼采的《悲劇的誕生》的批評(píng)理論和它在該小說中的體現(xiàn)。第三章詳細(xì)探討了石黑一雄在該小說創(chuàng)作中表現(xiàn)的酒神與日神的沖突與交融。這兩種精神又分別以主人公史蒂文斯的前主人爵爺達(dá)靈頓和后來的新雇主法拉戴先生為代表。第四章闡述了悲劇理論中陡轉(zhuǎn)與發(fā)現(xiàn)在該小說的具體表現(xiàn)。這兩個(gè)情節(jié)也共同構(gòu)成了該作品的高潮。史蒂文斯通過六天的旅行發(fā)現(xiàn)和還原了歷史真實(shí)，決定鼓起勇氣，樂觀面對(duì)生活。 本文通過對(duì)史蒂文斯離開達(dá)靈頓府的旅行歷程；他在旅途中經(jīng)歷的陡轉(zhuǎn)與發(fā)現(xiàn)真相；以及他回憶往事時(shí)表現(xiàn)的精神沖突和他在小說結(jié)束處力圖超越個(gè)人悲劇尋求生活意義的努力的描寫，揭示了該小說的悲劇本質(zhì)。
[Abstract]:Tragedies, as an important literary genre, are vividly and vividly reflected in the book left by the Sun. The book covers a wide range of topics, including elitist politics, world history, loyalty, repressed love, dignity and greatness, loss and regret, Oriental wisdom, cultural conflict and British style, and many other tragic factors. Some critics have judged the novel from the perspective of post-colonial theory, others have commented on the style of the novel, and others have focused on the personal tragedy of the characters. Starting from Aristotle and Nietzsche's theory of tragedy, this paper not only discusses the factors that lead to the tragedy of the main characters in the works, such as blind obedience, the pursuit of illusory, and so on. It also probes into the spirit of the god of the sun and the spirit of Dionysus, as well as the elements of the sudden turn and discovery of the tragic pleasures that constitute a tragic conflict. The first chapter of this paper reviews scholars and readers' interpretation of the last Japan Trail from the perspectives of post-colonial theory, cultural conflict theory and so on. The second chapter discusses tragedy, which begins with Aristotle's Poetics, Nietzsche's critical theory of the birth of tragedy and its embodiment in the novel. The third chapter discusses in detail the conflict and blending between Dionysus and Japanese God in the creation of this novel. These two spirits are represented by Sir Alex Darlington, the former master of Stevens, and Mr. Faraday, the new employer. The fourth chapter expounds the concrete expression of the sudden turn and discovery in this novel in the theory of tragedy. The two plots together constitute the climax of the work. Stevens discovered and restored historical truth through a six-day trip and decided to muster courage and be optimistic about life. In this paper, Stevens's journey from Darlington House, the steepness of his journey and the discovery of the truth; The tragic nature of the novel is revealed by his recollection of spiritual conflicts and his efforts to transcend individual tragedies and seek meaning of life at the end of the novel.
【學(xué)位授予單位】：西安外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I561.074

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