【摘要】：作為一種年輕的文類,現(xiàn)代短篇小說正越來越受到學(xué)界矚目。自上世紀(jì)七十年代,西方短篇小說理論也在查爾斯·梅伊那里正式成為了專門的學(xué)術(shù)領(lǐng)域。此領(lǐng)域的理論家們旨在闡發(fā)短篇小說藝術(shù)的內(nèi)在獨特性,而整個探討卻面臨重重困難。其理論建設(shè)同時受到長篇小說理論和社會、文化、政治理論的影響,往往不能立于自身,無法深刻揭示短篇小說文類的藝術(shù)內(nèi)涵。這一問題長期困擾著西方短篇小說理論家。本文即試圖對現(xiàn)代短篇小說的藝術(shù)特性作出新的探討。第一章主要指出,將再現(xiàn)美學(xué)作為理論建設(shè)的主導(dǎo),是產(chǎn)生這些困境的要因。再現(xiàn)美學(xué)主導(dǎo)下,理論家常常將文本視為現(xiàn)實的反應(yīng),強(qiáng)調(diào)了短篇小說認(rèn)識現(xiàn)實的功能,自然忽視了對其藝術(shù)特性的闡發(fā);盡管包括漢森在內(nèi)的理論家嘗試通過跨藝術(shù)、跨媒介的視角加以論述,但這些回應(yīng)只是只言片語,且存在諸多問題。第二章則進(jìn)一步指出,表現(xiàn)美學(xué)視角對于探討短篇小說藝術(shù)特性的價值所在,并將這一文類置于中西表現(xiàn)美學(xué)之下加以考察。本章從裴特“出位之思”的思想入手,結(jié)合克羅齊、蘇珊·朗格、錢鐘書、葉維廉等人的思想,提出了短篇小說的“出位”優(yōu)勢。第三章首先借助門羅的《激情》、《匆匆》、《愛的進(jìn)程》等文本,分析出作品中的雕塑意味,揭示了短篇小說與抒情詩、雕塑藝術(shù)特性的暗合,印證了第二章提出的“出位”論點。并在此基礎(chǔ)上,本章進(jìn)一步對短篇小說中表現(xiàn)美學(xué)的藝術(shù)特色做出了歸納。通過分析,本文指出短篇小說具有出位之思的獨特文類優(yōu)勢:短篇小說可以憑借篇幅之便,將讀者引渡到多樣的藝術(shù)境界之中,如詩歌之含蓄、雕塑之立體等,從而成為一種極具魅力的獨特文類。西方理論家眼中的短篇小說所獨具的“迷惑力”特性,不僅僅是神秘現(xiàn)實的再現(xiàn),更是一種伴隨著“出位”而產(chǎn)生的包孕式的藝術(shù)表現(xiàn)力。
[Abstract]:As a kind of young literature, modern short stories are attracting more and more attention. Since the 1970s, Western short-story theory has become a special academic field in Charles Mayi's. Theorists in this field aim to elucidate the inherent uniqueness of the art of short stories, but the whole discussion faces many difficulties. Its theoretical construction is influenced by the theory of novel and the theory of society, culture and politics at the same time, and it is often unable to stand on itself and reveal the artistic connotation of the genre of short story deeply. This problem has long troubled western short story theorists. This paper attempts to make a new discussion on the artistic characteristics of modern short stories. In the first chapter, it is pointed out that reappearance aesthetics is the main cause of these dilemmas. Under the guidance of reproduction aesthetics, theorists often regard text as a reaction of reality, emphasizing the function of recognizing reality in short stories, and naturally neglecting the interpretation of its artistic characteristics, although theorists, including Hansen, try to cross art. But these responses are only words, and there are many problems. The second chapter further points out that the value of the artistic characteristics of short stories lies in the perspective of performance aesthetics, and puts this article under the Chinese and Western performance aesthetics to investigate. This chapter starts with Peter's thought of coming out, combines the thoughts of Croce, Susan Lange, Qian Zhongshu, Ye Weilian, and puts forward the advantage of "coming out" in short story. In the third chapter, with the help of Monroe's "passion", "hurry", "the process of love" and other texts, the author analyzes the sculpture meaning in his works, reveals the confluence of the artistic characteristics of short stories and lyric poems, and confirms the argument of "coming out" put forward in the second chapter. On this basis, this chapter further summarizes the artistic characteristics of performance aesthetics in short stories. Based on the analysis, this paper points out that short stories have the unique advantages of literary genre: short stories can, by virtue of space, extradite readers to various artistic realms, such as the implication of poetry, the three-dimensional nature of sculpture, and so on. Thus becomes a kind of extremely attractive unique literary category. In the eyes of western theorists, the characteristic of "bewilderment" in short stories is not only a reappearance of mysterious reality, but also a kind of artistic expressive force which is accompanied by "coming out".
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I106.4

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相關(guān)期刊論文 前1條

1 代迅;;朱光潛與表現(xiàn)論:中西美學(xué)融通的另一條邏輯線索[J];文藝?yán)碚撗芯?2013年02期

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本文編號：2210979