本文關(guān)鍵詞：重復(fù)與差異：互文理論觀照下的文學經(jīng)典　出處：《廣西師范大學》2012年碩士論文　論文類型：學位論文

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【摘要】：西方后現(xiàn)代文學理論具有不同于傳統(tǒng)文學理論的多元,開放,流變的特征。它的理論宗旨是對傳統(tǒng)的形而上學理論進行顛覆與整合。在這樣的理論發(fā)展趨勢下,20世紀60年代末,法國著名文藝理論家克里斯蒂娃創(chuàng)造了“互文性”(intertextualite,或譯“文本間性”)的概念,奠定了當代互文理論的基礎(chǔ)�；ノ睦碚搹娬{(diào)文本自身的互涉性、斷裂性、不確定性和開放性,突破了靜觀、孤立、封閉的理論形態(tài),具有較好的可操作性。因此,它在文學研究和文學寫作中就扮演著越來越重要的角色,展示著自身的理論魅力。 論文主體三章分別從哲學、詩學與文學三方面展開互文理論的題旨。 首先,從德勒茲的“差異與重復(fù)”的命題探究互文理論的哲學原理。法國思想家德勒茲(Gilles Deleuze,1925-1995)被譽為“差異哲學家”,他的哲學名著《差異與重復(fù)》(1968)從尼采式的“永恒回歸”的觀念獲取靈感,立足于差異性而不是同一性。以此審視世界萬象,看到的是充滿差異的多元性的宇宙,過去、現(xiàn)在和未來共生共存,交疊互滲。差異與重復(fù)的本質(zhì)力量,意味著回歸一個流動、嬗變和生成的世界。因此,德勒茲的“差異與重復(fù)”的概念可以從哲學上有力地支撐強調(diào)文本互涉、互闡、解構(gòu)與重構(gòu)的互文理論。德勒茲的命題是文學研究領(lǐng)域互文理論的重要哲學基石。 其次,從希利斯·米勒的“小說與重復(fù)”的文學批評實踐來探討互文理論的詩學蘊含。美國耶魯解構(gòu)學派主要成員希利斯·米勒(J. H. Miller,1928-)是中國文藝理論界較為熟悉和關(guān)注的當代國際著名的文學批評家,也是西方解構(gòu)主義思潮在美國的主要代表之一,他將德勒茲差異與重復(fù)的哲學概念與歐美文學批評實踐緊密結(jié)合起來,在其詩學力作《小說與重復(fù)》(1982)對康拉德《吉姆爺》、哈代《德伯家的苔絲》等七部英國小說加以精彩的批評,理論上側(cè)重區(qū)分了柏拉圖式的同質(zhì)重復(fù)與尼采—德勒茲式的異質(zhì)重復(fù)的詩學意義,充分展示了德勒茲詩學的微妙影響和他論析文學文本的細膩特色。另外,在他的詩學觀里還闡發(fā)了小說重復(fù)的三種形態(tài),即微觀重復(fù),中觀重復(fù)和宏觀重復(fù),從差異與重復(fù)的角度進行了小說詩學的闡釋。 第三,在互文理論的觀照下,運用德勒茲差異哲學思維和米勒詩學觀重新審視文學經(jīng)典�；ノ睦碚搶ξ膶W經(jīng)典的觀照,大致呈現(xiàn)出兩個方向,一是作為批判文學經(jīng)典的武器,互文性理論逐步與文化研究、解構(gòu)批評、新歷史主義相結(jié)合；二是作為詩學實踐的工具,具體體現(xiàn)為對“重復(fù)”的實踐以探尋差異性的力量。因此,互文理論可以引導(dǎo)我們對文學經(jīng)典進行重新闡釋。T.S.艾略特的《荒原》是互文性理論實驗中“順寫”的經(jīng)典。當代俄裔美國作家納博科夫的小說名著《洛麗塔》充盈著重復(fù)和戲仿的元素,被公認是后現(xiàn)代敘事的重要標本。在西方互文理論視野中引入希利斯·米勒小說詩學的“重復(fù)”理論與德勒茲哲學“差異與重復(fù)”的美學命題,審視《洛麗塔》的“重復(fù)”、“戲仿”與“差異”的三個維度,能夠啟迪我們更為深刻地感悟后現(xiàn)代主義文學的特質(zhì),理解德勒茲哲性詩學強調(diào)差異性而不是同一性的思想力量,深化當代文學批評與文化詩學的理論意識。少數(shù)族文學、女性作家通過重寫、逆寫、改寫多數(shù)族文學的正典,從而重復(fù)過去、現(xiàn)在以創(chuàng)造未來的新維度。因此,互文理論和文學實踐所特有的差異性力量,不僅導(dǎo)致了文學經(jīng)典的多樣化解讀,同時也挑戰(zhàn)了傳統(tǒng)的靜觀的詩學觀念。人類的慣性思維模式被打破,構(gòu)成文學世界的版圖被不斷重新排列組合,從而衍生出紛繁多姿的可能性。 總括而言,互文理論充盈著差異哲學的力量,具有解構(gòu)論詩學的蘊含與開放的文學空間�；ノ睦碚撌侨藗儗ξ膶W認識的深化,也是一種靈活開放的研究方法,它在內(nèi)部批評和外部批評之間打開了通道,意味著文學范式的重要轉(zhuǎn)型——強調(diào)用多維的、可逆的空間范式代替一維、單向的時間范式,從而與“轄域化—解轄域化—再轄域化”的后結(jié)構(gòu)主義文藝美學觀念“文心”相通,是一種富于當代學術(shù)意識的理論方法。
[Abstract]:Post modern western literary theory is pluralistic, different from the traditional literary theory of the open, rheological characteristics. It is the purpose of the theory of metaphysics to the traditional theory of subversion and integration. In 1960s the theory of this trend, the end of the famous French literary theorist Christiva created the "intertextuality" (intertextualite, or "text translation between") concept, laid the foundation of modern intertextuality theory. The theory of intertextuality emphasizes the interaction of the text itself, fracture, uncertainty and openness, through contemplation, isolated, closed form theory, has a good operability. Therefore, it is in the literature research and literary writing in the play a more and more important role, showing the charm of theory itself.
The three chapter from philosophy, poetics and literature in three aspects of the theme of the theory of intertextuality.
First of all, from Deleuze's theory of "differences and repetition" to explore the philosophy principle of intertextual theory. The French thinker Deleuze (Gilles Deleuze, 1925-1995) is known as "the difference of philosopher", his philosophical masterpiece "difference and repetition" (1968) from Nietzsche's "eternal return" concept and inspiration based on the difference not the same. In order to examine the world Vientiane, see is full of differences of the diversity of the universe, past, present and future of coexistence, mutual overlapping. The essence of power difference and repetition, means a return flow, transformation and generation of the world. Therefore, Deleuze's "difference and repetition" from a philosophical concept can effectively support the emphasis on intertextuality, mutual interpretation, deconstruction and reconstruction of the theory of intertextuality. Deleuze's proposition is an important philosophical foundation of literature research field of intertextual theory.
Secondly, to explore the theory of intertextuality contains poetics from Hillis Miller's "fiction and repetition" the practice of literary criticism. The main members of Yale School Hillis Miller deconstruction (J. H., Miller, 1928-) are more familiar with China literary theory and focus on contemporary international famous literary critic, one of the main representatives of Western deconstructionism in the United States Deleuze, he will repeat differences and philosophical concepts and European literary criticism practice closely together, in his poetic masterpiece "fiction and repetition" (1982) to Conrad Jim Hardy, < >, < >, Tess of the d'Urbervilles seven English novels to be wonderful criticism theory to distinguish the poetic meaning of Platon on the homogeneity and heterogeneity of Deleuze Nietzsche's repeated and repeated, fully demonstrated the characteristics of exquisite literary text subtle influence of Deleuze's Poetics and his other. Besides, in his poetics view, three forms of repetition are elucidated, namely micro repetition, meso repetition and macro repetition, and the interpretation of novel poetics from the perspective of difference and repetition.
Third, in the perspective of intertextual theory, the difference between Deleuze philosophy and Poetics of Miller to re-examine the classical literature. On the intertextual theory of literary classic, there are two directions, a literary classic is as critical weapon, the theory of intertextuality gradually and cultural studies, deconstruction criticism, New Historicism combined two; as Poetics practice tools, embodied in the practice of "repeat" to explore the power of the difference. Therefore, the theory of intertextuality can guide us to the classic literature was re interpretation of Eliot's ".T.S." is the theory of intertextuality wilderness experiment "write smoothly" classic. Contemporary Russian born American writer Nabokov the novel < > Lolita masterpiece filled with the elements of repetition and parody is considered a postmodern important specimen. The introduction of Hillis Miller's novels in the perspective of Western Poetics in the theory of intertextuality" Repeat "theory and Deleuze's philosophy of" differences and repetition "aesthetic proposition," Lolita Review > "repeat", "three dimensions Parody" and "difference", to enlighten us more characteristic of modernism literature profound comprehension, understanding Deleuze poetry emphasizes the difference but not the same the power of thought, deepen the theoretical consciousness of contemporary literary criticism and cultural poetics. Minority literature, women writers by rewriting, reverse writing, rewriting most literature canon, to repeat the past, now in order to create a new dimension in the future. Therefore, the difference of strength of specific intertextuality theory and literary practice, not only led to the diversified interpretation of classical literature, but also challenges the traditional concept of poetics. Contemplation of human thinking mode is broken, constitute the world has been rearranged, derived from numerous A variety of possibilities.
In general, the theory of intertextuality filling differences in the power of philosophy, with the deconstructive implication of poetic theory and the open literature space. The theory of intertextuality is deepening people's understanding about literature, but also a flexible and open research method, which opens the channel between the internal and external criticism, means an important transformation of literary paradigm -- emphasis a multidimensional space paradigm, instead of one-dimensional reversible, one-way time paradigm, and thus "territorializes - deterritorialising - re territorializes" post structuralism literary aesthetic concept of "heart" which is a theoretical method which is rich in contemporary academic consciousness.

【學位授予單位】：廣西師范大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I02

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