【摘要】：安部公房所有文學(xué)作品的共同特征就是對(duì)“人”的觀照,人與社會(huì)、人與他人、人與自身的關(guān)系始終是貫穿其文學(xué)生命的主線。在他早期的《墻》、《赤繭》、《棒》等作品中讀者明顯能夠體驗(yàn)到一種“卡夫卡式的變形”。這些變形不論是出于主動(dòng)的還是被動(dòng)的,其實(shí)都旨在表明人已經(jīng)處在了“異化”的狀態(tài)中,始作俑者就是社會(huì)這個(gè)共同體。共同體以其權(quán)威凌駕于個(gè)人之上,生活在共同體下的人被迫接受它制定的游戲規(guī)則。一旦這個(gè)共同體發(fā)生病變,人也就處在了異化的邊緣。人的自由張力會(huì)隨著社會(huì)病變的程度而不斷加強(qiáng),社會(huì)的束縛越多,人對(duì)自由的追求也就越強(qiáng)烈。60年代則是安部公房創(chuàng)作的黃金期,在這期間誕生的三部作品——《砂女》、《他人的臉》、《燃燒的地圖》表征著他對(duì)人的自由理念的透徹解讀。因此安部的作品本質(zhì)上就是一部人類追求自由的歷史,他以“文學(xué)介入生活”的方式展現(xiàn)著他的人文主義情懷。安部公房把“逃離”作為三部曲的一個(gè)重點(diǎn)來(lái)書(shū)寫(xiě),不僅因?yàn)椤疤与x”是三部曲的一個(gè)重要主題,同時(shí)也因?yàn)樗且环N追求自由的手段,是一種帶有“西西弗斯悲劇精神”的策略。在作者看來(lái),逃離重在過(guò)程而不計(jì)較結(jié)果,這就是為什么三部曲的結(jié)尾具有模糊性的原因。在描寫(xiě)“逃離”的過(guò)程中安部公房以其前衛(wèi)的寫(xiě)作風(fēng)格營(yíng)造了許多荒誕不經(jīng)的場(chǎng)景,但荒誕并不是目的,它是一種手段。當(dāng)這些荒誕的場(chǎng)景跟人物的悲喜命運(yùn)交織在一起時(shí),讀者便會(huì)感受到強(qiáng)烈的審美愉悅。從小說(shuō)人物的遭遇來(lái)看,他們大部分是不幸的,無(wú)論是終年困囿于沙穴,周而復(fù)始地干著清砂工作的砂女,掉入圈套的中年教師,失敗的偵探,還是失去臉的科學(xué)家,他們都帶著悲劇人物的氣質(zhì)。然而作者卻又賦予了他們一種樂(lè)觀的態(tài)度,實(shí)現(xiàn)了荒誕的轉(zhuǎn)向,在超越中給讀者一種崇高感。正如加繆所說(shuō)“人們必須想象西西弗斯是快樂(lè)的”。
[Abstract]:The common feature of all Abe Kobo's literary works is the reflection of "man". The relationship between man and society, between man and others, and between man and himself is always the main line running through his literary life. In his early works, such as Wall, Cocoon, Rod, and so on, readers can clearly experience a "Kafka-like transformation." These transformations, whether active or passive, are designed to show that people have been in a state of alienation, the initiator of which is the community of society. The community, with its authority over the individual, was forced to accept the rules of the game. Once this community changes, people are on the verge of alienation. People's freedom tension will continue to strengthen with the degree of social lesion, the more the social constraints, the stronger people's pursuit of freedom. The 1960s was the prime time for Abe Kobo's creation. The three works born during this period "Sand woman", "face of others", "the Map of Burning" symbolize his thorough interpretation of the concept of human freedom. Therefore, his works are essentially a history of human pursuit of freedom, and he expresses his humanistic feelings in the way of "literary intervention in life". Abe Kobo wrote "escape" as an important part of the trilogy, not only because it was an important theme of the trilogy, but also because it was a means of pursuing freedom. It is a strategy with the spirit of Sisyphus tragedy. In the author's view, escaping from the process without regard to the outcome is why the end of the trilogy is vague. Abe Kobo created many absurd scenes in his avant-garde writing style in the process of describing "escape", but absurdity is not an end, it is a means. When these absurd scenes are intertwined with the tragic and happy fate of the characters, the reader will feel a strong aesthetic pleasure. Judging from the story of the characters, most of them are unfortunate, whether they are sand women trapped in sand holes all year round, middle-aged teachers who have fallen into trap, failed detectives, or scientists who have lost their faces. They all had the qualities of tragic characters. However, the author endows them with an optimistic attitude, realizes the absurd turn, and gives the reader a sense of sublime in transcendence. As Camus said, "one must imagine Sisyphus to be happy."
【學(xué)位授予單位】：喀什大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I313.074

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本文編號(hào)：2288791