【摘要】：《墜落的人》是唐·德里羅在后9·11時(shí)代對(duì)恐怖主義的一次深刻反思。該小說(shuō)不單是德里羅對(duì)恐怖主義話題的再現(xiàn),更是借以后現(xiàn)代之災(zāi)難對(duì)人類存在的一次本體論探討。本文擬對(duì)《墜落的人》進(jìn)行一次海德格爾式解讀。借助于海德格爾的本體論和美學(xué)觀,輔以利科對(duì)敘事性的研究,該論文旨在探索德里羅這本后9·11小說(shuō)中的敘事性和存在,即如何敘事出此在的本真存在與自我。在利科對(duì)于敘事性的研究中,他認(rèn)為所有的敘事性都是依賴時(shí)間而建立的;而海德格爾的存有論也是以時(shí)間作為存在的基礎(chǔ)。因此,本文對(duì)敘事性和存在的討論也將建立于對(duì)時(shí)間性的探討之上。本論文的主體包括兩個(gè)方面,一方面將探討個(gè)體的敘事性,另一方面則將探討藝術(shù)的敘事性。第一方面對(duì)個(gè)體敘事的探討主要借用的是創(chuàng)傷理論,正如災(zāi)難與創(chuàng)傷的雙生性決定了幸存者的存在必定要經(jīng)由敘事。因此,借助于拉卡普拉和弗洛伊德的創(chuàng)傷研究,創(chuàng)傷下的個(gè)體敘事性首先分為了抑郁敘事和哀悼敘事。由于抑郁敘事根植于過(guò)去,現(xiàn)在淪落為過(guò)去的強(qiáng)迫性重復(fù)的再演。哀悼敘事才有能力擺脫過(guò)去,重塑存在者。倘若將創(chuàng)傷視為存在的一個(gè)隱喻,《墜落的人》中的創(chuàng)傷者沉湎于過(guò)去便是一種由抑郁敘事所致的此在之被拋狀態(tài)。海德格爾認(rèn)為此在所依賴的正是一種社會(huì)文化的語(yǔ)境,而后現(xiàn)代的社會(huì)文化語(yǔ)境則是一個(gè)敘事環(huán),牢牢套住了此在于一種非本真的存在之中,亦如抑郁敘事將創(chuàng)傷者拋于過(guò)去一般。德里羅所批判的社會(huì)文化便是一種由科技的貧瘠、意識(shí)形態(tài)的元敘事和消費(fèi)主義所建構(gòu)的后現(xiàn)代認(rèn)知。在其敘事環(huán)中,個(gè)體對(duì)于災(zāi)難和創(chuàng)傷的認(rèn)知是經(jīng)意識(shí)形態(tài)建構(gòu)的,他們?yōu)闅v史、教育和媒體的建構(gòu)主義所賦予的創(chuàng)傷者之政治身份迷惑,從而忽視了其本真存在和自我。因而,敘事環(huán)內(nèi)只存在抑郁敘事,哀悼則是政治之禁忌。德里羅對(duì)《墜落的人》的循環(huán)敘事結(jié)構(gòu)也反映了個(gè)體敘事的無(wú)效性。因此,此在的抑郁便是非本真存在和自我缺失的敘事性表達(dá)。由于敘事環(huán)讓個(gè)體敘事完全失效,其本真存在與自我便成了一種妄想。但德里羅在《墜落的人》中內(nèi)置的藝術(shù)卻有著一種彌賽亞式救贖之可能。因此,本文的第二大部分便對(duì)德里羅文本中的藝術(shù)敘事性進(jìn)行存有論式探討。利科將敘事主要分成兩類,一種是述事,另一種是戲劇敘事。在《墜落的人》中述事主要包括有話語(yǔ)敘事和畫語(yǔ)敘事。然而這兩種述事根本上還是一種抑郁敘事。在文本中,話語(yǔ)敘事主要表現(xiàn)為詩(shī)歌和一般話語(yǔ),但這種述事缺乏海德格爾所謂的"詩(shī)性"和"靈性",因而無(wú)法在敘事廢墟中重構(gòu)詩(shī)意的棲所。而畫語(yǔ)敘事,即對(duì)莫蘭蒂靜物寫生的藝格敷詞,更是受到了意識(shí)形態(tài)的蠶食與消費(fèi)主義的荼毒,畫也因而墮落為消費(fèi)品而非海德格爾意義上的藝術(shù)品。因此,對(duì)于本真存在的去蔽和自我的揭示只能經(jīng)由墜落的人的行為藝術(shù)來(lái)完成。麗昂與墜落的人的三次相遇如同幕間劇,他的冒險(xiǎn)一躍成就是一種戲劇敘事,而這種戲劇敘事則組成了一場(chǎng)文本內(nèi)的哀悼劇。借鑒本雅明對(duì)哀悼劇的研究,本論文認(rèn)為《墜落的人》中行為藝術(shù)家的戲劇敘事正是一種哀悼劇的藝術(shù)。這種真正藝術(shù)的敘事性不僅超越了敘事環(huán),它本身還是一種哀悼敘事。墜落的人的戲劇敘事不僅走出了創(chuàng)傷,還對(duì)此在本真存在和自我進(jìn)行了去蔽。德里羅通過(guò)《墜落的人》中藝術(shù)的敘事性將小說(shuō)化為一種藝術(shù)寓言,從而揭示了真正藝術(shù)對(duì)于此在本真存在和自我的救贖。
[Abstract]:"Falling Man" is a profound reflection on terrorism by Don Delillo in the post-9/11 era. This novel is not only Delillo's reappearance of the topic of terrorism, but also an ontological exploration of human existence through the disaster of post-modern times. This paper intends to make a Heidegger-style interpretation of "Falling Man". The thesis aims at exploring the narrative and existence in Dererot's later 9/11 novels, that is, how to narrate the real existence and the self of being. Therefore, the discussion of narrativeness and existence in this paper will also be based on the discussion of timeliness. The main body of this paper includes two aspects: one is to explore the narrativeness of individuals, the other is to explore the narrativeness of art. Trauma theory, just as the twin nature of disaster and trauma determines that survivors must exist through narrative. Therefore, with the help of Lakapra and Freud's trauma studies, Individual Narrative under trauma is divided into depressive narrative and mournful narrative. Mourning narrative is the ability to get rid of the past and reshape the existence. If trauma is regarded as a metaphor of existence, the traumatist's indulgence in the past is a state of being thrown away by depressed narrative. Heidegger believes that this is based on a social and cultural context, and the post-modern society. The cultural context is a narrative ring, which is firmly held in a kind of non-real existence, as depressed narrative throws the wounded into the past. The social culture criticized by Dererot is a kind of post-modern cognition constructed by the barren science and technology, ideological meta-narrative and consumerism. Cognition of disaster and trauma is ideologically constructed. They confuse the political identity of the wounded given by the constructivism of history, education and media, thus ignoring their true existence and self. Constructions also reflect the ineffectiveness of individual narratives. Therefore, the depression of Being is the narrative expression of non-real existence and self-absence. Because narrative rings completely invalidate individual narratives, their true existence and self become a delusion. But Delillo's art in The Falling Man has a possibility of Messianic redemption. The second part of this paper is an existential discussion of the artistic narratives in Delillo's text. Rico divides narratives into two main categories, one is narrative, the other is dramatic narrative. In Falling Man, narratives mainly include discourse narrative and pictorial narrative. In the text, discourse narrative is mainly expressed in poetry and general discourse, but this kind of narrative lacks Heidegger's so-called "poetic" and "spiritual" so that it can not reconstruct poetic habitat in the narrative ruins. Therefore, the deconstruction and self-disclosure of the real being can only be accomplished through the behavioral art of the fallen man. The three encounters between Leon and the fallen man are like a curtain play. His leap of adventure is a kind of dramatic narrative, and this kind of dramatic narrative constitutes a kind of dramatic narrative. Drawing lessons from Benjamin's study of mourning drama, this paper holds that the dramatic narrative of the behavioral artist in The Falling Man is just the art of mourning drama. The narrative of this real art is not only beyond the narrative ring, but also a kind of mourning narrative itself. The dramatic narrative of the falling man is not only out of the trauma, but also right. Delillo transforms the novel into an artistic fable through the narrative of art in Falling Man, thus revealing the true art's redemption of this real being and self.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I712.074

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