本文選題：石黑一雄　切入點(diǎn)：記憶　出處：《西北大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：石黑一雄,英國(guó)當(dāng)代著名小說(shuō)家,擅長(zhǎng)挖掘人復(fù)雜的內(nèi)心世界,喜歡書寫記憶,認(rèn)為記憶是審視生活的過(guò)濾器。縱觀石黑一雄的作品,敘述者的記憶是最不可靠的存在,因?yàn)槊恳粋�(gè)試圖用回憶講故事的主人公,其心靈上都背負(fù)著創(chuàng)傷。本篇論文選取其六部長(zhǎng)篇小說(shuō)《遠(yuǎn)山淡影》、《浮世畫家》、《長(zhǎng)日留痕》、《無(wú)可慰藉》、《上海孤兒》和《別讓我走》為研究對(duì)象,沿著記憶的線索,探討這六部作品的共同主題——?jiǎng)?chuàng)傷,思索這一主題對(duì)當(dāng)代人的啟示。本篇論文主體部分共分為三個(gè)層次:第一層探究創(chuàng)傷的外在表征,挖掘造成個(gè)體心靈創(chuàng)傷的原因。記憶是貫穿石黑一雄作品始終的線索,與創(chuàng)傷事件有關(guān)的記憶是以何種方式被創(chuàng)傷主體記錄的,成為創(chuàng)傷存在的關(guān)鍵。記憶機(jī)制遭到破壞,受創(chuàng)的個(gè)體不能完整的回憶全部的經(jīng)歷,出于恐懼、羞愧等原因,他們?cè)谡故居洃洝⒊尸F(xiàn)故事時(shí),會(huì)出現(xiàn)多種匪夷所思的表達(dá)方式。第二層探究受創(chuàng)的個(gè)體如何在創(chuàng)傷世界進(jìn)行自我療救。創(chuàng)傷主體之所以會(huì)以異于常人的方式展開(kāi)回憶,原因在于其自我被割裂為二,一部分隨著生活的軌跡繼續(xù)前行,另一部分被固著在創(chuàng)傷經(jīng)歷中。創(chuàng)傷主體要擺脫傷痛,就必須整合出完整的自我,唯一的方式就是重歷過(guò)往,正視歷史,主動(dòng)呈現(xiàn)創(chuàng)傷。第三層探討創(chuàng)傷主體自我療救的目的及結(jié)果。通過(guò)一系列的療救,創(chuàng)傷主體能夠拋棄創(chuàng)傷,融入現(xiàn)實(shí),在現(xiàn)實(shí)中找到自我存在的方式。如果創(chuàng)傷主體長(zhǎng)期將自己置于分裂狀態(tài),在過(guò)去與現(xiàn)實(shí)中游走,最終的結(jié)果是被過(guò)去吞噬,走向毀滅。本篇論文的最終目的是要挖掘石黑一雄作品中的創(chuàng)傷主題對(duì)現(xiàn)實(shí)生活的意義,他的作品給予身處現(xiàn)代困境中的人何種啟示與出路。
[Abstract]:Ishihiro Ishihiro, a famous contemporary British novelist, is good at digging into the complex inner world of human beings, likes to write memories, and thinks that memory is the filter to examine life. Throughout Ishihiro's works, the narrator's memory is the most unreliable existence. Because every hero who tries to tell a story with memories, His mind is full of trauma. This selected essay takes six novels, "distant Mountain Shadow", "floating Painter", "long Day traces", "No consolation", "Shanghai Orphans" and "Don't Let me go" as research objects, following the clues of memory. This paper discusses the common theme of the six works, trauma, and the enlightenment of this theme to contemporary people. The main part of this thesis is divided into three levels: the first layer explores the external representation of trauma, The memory is the clue that runs through Ishihiro's works. The way in which the memories related to traumatic events are recorded by the trauma subject becomes the key to the existence of the trauma, and the memory mechanism is destroyed. The injured individuals are not able to recall all of their experiences completely, because of fear, shame, and so on, when they display their memories and present their stories. There will be a variety of unimaginable expressions. The second level explores how an injured individual can heal himself in a traumatized world. The traumatic subject unfolds memories in a different way, because its self is split into two. One part goes on with the course of life, the other part is stuck in the traumatic experience. To get rid of the pain, the traumatic subject must integrate the whole self, the only way is to go through the past and face up to the history. The third layer discusses the purpose and result of the self-healing of the trauma subject. Through a series of healing, the trauma subject can abandon the trauma and integrate it into reality. Find a way of being in reality. If the traumatic subject puts himself in a state of division for a long time and walks between the past and the reality, the end result is being swallowed up by the past. The ultimate purpose of this thesis is to excavate the significance of the trauma theme in Ishihiro's works to the real life and what enlightenment and outlet his works give to the people in the modern predicament.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I561.074
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本文編號(hào)：1617668