本文選題：喬叟 + 《坎特伯雷故事》��； 參考：《上海外國語大學(xué)》2017年博士論文

【摘要】：英國文學(xué)經(jīng)典《坎特伯雷故事》在世界范圍內(nèi)受到學(xué)界的一致好評和持續(xù)關(guān)注。然而就研究的廣度和深度而言,英語國家和非英語國家在喬叟文學(xué)研究方面還存在較大差距。喬叟的代表作《坎特伯雷故事》的成功,主要歸功于其日趨完善的寫作手法和獨具匠心的文體試驗。“法博俚”文體就是最成功的典型。喬叟的“法博俚”是對法語“法博俚”的借鑒和超越,本文將喬叟的“法博俚”所具有的獨特性稱為“超法博俚”,意指超越和創(chuàng)新,特指喬叟在語言和結(jié)構(gòu)上對“法博俚”文體的革新。全文共分三章,分別介紹“法博俚”文體的名稱含義、文體特色,以及喬叟的“超法博俚”文體試驗。例證取自《坎特伯雷故事》中的六個故事,即《磨坊主的故事》、《管家的故事》、《游乞僧的故事》、《法庭差異的故事》、《商人的故事》和《船員的故事》。第一章介紹“法博俚”文體的名稱含義和歷史淵源。“法博俚”的定義,“用詩歌描寫令人捧腹的故事”,雖在評論界廣為人知,但卻仍然存在問題。“法博俚”難以定義的事實與其不確定的歷史淵源和地位密切相關(guān)。它源于寓言故事,與羅曼司、萊劇、軼事等其他文體相交融,不僅包含宮廷權(quán)貴階級、教士階級、新興資產(chǎn)階級,還包含底層的勞工階級,同時它跨越眾多文體和寫作模式的界限,反映并錯置原本屬于不同文體的人物和行為。此外,法語的“法博俚”和英語的“法博俚”、喬叟的“法博俚”和其他英語的“法博俚”之間都存在微妙的差異,從而使得該文體更具有模糊性。為了本土化研究的需要,本文提議的中譯名“法博俚”是用象形的漢字對英法語境下該文體的概括。“法”具有三層含義,分別指法國、章法和道法自然;“博”指“博弈”,強調(diào)故事中對手和對立觀念之間的競爭;“俚”取“俚俗”,意指“法博俚”文體故事的民俗特征,強調(diào)該文體的口頭文學(xué)性。第二章分析“法博俚”文體的特征。“法博俚”具有限定性的文體特征分別是幽默和污穢、無道德或偽道德、厭女癥或反厭女癥。幽默是“法博俚”文體最大的特色,與污穢相結(jié)合的幽默又是特色中的特色;“法博俚”不喜說教,離經(jīng)叛道,或宣揚偽道德,或倡導(dǎo)無道德,嘲諷愚弄不停歇;既因循中世紀(jì)厭女的傳統(tǒng),認(rèn)為女子“百害無一利”,又嘲諷男性得勢的宗教社會,反向彰顯女性的才能和智慧,反對厭女的社會傳統(tǒng)。需要特別說明的是,將這三對詞組相連接的連詞,“和”表示前后兩者密不可分,“或”表示兩者是選擇的關(guān)系。這種選擇在很大程度上依賴觀眾和讀者對它們的選擇,因而解讀的效果也隨著立場和環(huán)境的變化而變化�？傊�,以幽默為特征的“法博俚”夾雜著不少污言穢語,文中無道德或偽道德大行其道,女性被詬病的同時,其才能和智慧又得到了極大的彰顯。第三章突出喬叟在《坎特伯雷故事》的“超法博俚”特色。“超法博俚”是在“法博俚”的詞根上追加前綴“para-(超)”而自創(chuàng)的一個新詞,突出喬叟既源于又異于法語“法博俚”的寫作創(chuàng)新。喬叟的“超法博俚”文體特征主要指他在語言和結(jié)構(gòu)上對“法博俚”文體的革新。語言方面,他善于變換名稱的指稱、巧用二分對立法則、恰當(dāng)準(zhǔn)確地轉(zhuǎn)變語域,尤為獨到的是,使用方言塑造人物角色。作為第一個使用方言寫作的英國作家,喬叟在《管家的故事》中對于來自英格蘭北部管家、約翰和阿萊恩的描寫尤為出彩。結(jié)構(gòu)方面,喬叟在框架結(jié)構(gòu)上的巧斧神功可謂精妙,全文共有四層敘述結(jié)構(gòu):上下銜接,里應(yīng)外合,互文叢生,古今勾連。經(jīng)他匠心改寫的“法博俚”故事是傳統(tǒng)和個人才干相結(jié)合的杰作,既與前人的創(chuàng)作產(chǎn)生同源和互文的關(guān)系,又是新穎獨特的佳作,讓法語“法博俚”在英語的語言下重獲新生,開創(chuàng)了英國“法博俚”文體的先河。
[Abstract]:The Canterbury story of the British literary classics has received high praise and continuous attention from the academic circles worldwide. However, there is still a big gap between the English and non English countries in terms of the breadth and depth of the study. The success of Chaucer's masterpiece, "Canterbury", is mainly due to the growing perfection of Chaucer. Chaucer's "French slang" is the reference and Transcendence of French "French slang". This article describes the uniqueness of Chaucer's "French and Bo" as "transcendental", meaning transcendence and innovation, especially Chaucer in language and structure. The full text is divided into three chapters. The full text is divided into three chapters: the name, the stylistic feature, and the stylistic test of the "super French". The example is taken from the six stories in the Canterbury story, that is, the story of the Miller, the story of the housekeeper, the story of the monk, the story of the court difference, the merchant. The first chapter introduces the name and historical origin of the "French slang". The definition of "French and Bo", "the story of the most popular in poetry", is well known in the commentaries, but there are still problems. It is closely related. It comes from fable stories, intersects with Romans, Lai opera, anecdotes and other styles. It includes not only the imperial power class, the clergyclass, the emerging bourgeoisie, but also the lower class of the labor class, while it crosses the boundaries of many styles and writing patterns, reflecting and misplacing the characters and behavior that originally belong to different styles. There are subtle differences between French "French slang" and English "French slang", Chaucer's "French slang" and other English "French slang", which makes the style more ambiguous. For the need of localization research, the Chinese translated name "FBO" is the style of the Chinese language in the context of English and France. The "law" has three meanings, which refers to France, the rule of law and the natural nature of the Taoist law. "Bo" refers to the "game", emphasizing the competition between the opponents and the opposing ideas in the story. "Slang" takes "slang", meaning the folklore characteristics of the "French slang" style story, emphasizing the oral literature of the text. The second chapter analyses the style of "French slang". The characteristics. The "French slang" has a limited style of stylistic features: humour and filth, unmoral or pseudorandom, sick or anti sick woman. Humor is the biggest feature of the "French slang" style, and humour combined with filth is characteristic of the characteristic; "French slang" does not like preaching, deviant, or preaching false morality, or advocating no Morality, mockery and mockery, not only according to the tradition of the women in the middle ages, that women are "a hundred harm and no profit", but also mockery of the powerful religious society of the male, and reverse the feminine talent and wisdom, and oppose the social tradition of the weary woman. The choice is largely dependent on the choice between the audience and the reader, and the effect of the interpretation varies with the position and the environment. In a word, the "French slang" characterized by humour is mixed with a lot of dirty words. The third chapter highlights Chaucer's "supernatural" feature in the Canterbury story. "Superfrench" is a new word created by the prefix "para-" on the root of "fabo", highlighting Chaucer's writing both from French and French "fapper". The stylistic features of Chaucer's "super magic" mainly refer to his innovation in the language and structure of "French and Bo" style. In language, he is good at changing the name of the name, skillfully using the principle of two points of opposites, changing the register properly and accurately, especially, using dialects to create character roles. As the first English language to write the English language. Chaucer's description of the housekeeper, John and Alain in the northern England is particularly brilliant in the story of the housekeeper. In structure, the skillful work of Chaucer in the frame structure is exquisite. There are four narrative structures in the full text: up and down, in line, intertextuality, and in ancient and modern. The story is a masterpiece of combination of tradition and personal talent. It not only produces homologous and intertextual relations with previous works, but also is a novel and unique masterpiece. It makes French "French French slang" reborn in English language and pioneered the English "French" style.
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：I561.074
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本文編號：1911748