本文選題：卡夫卡 + 余華�。� 參考：《河南大學(xué)》2013年碩士論文

【摘要】：論文首先分析了卡夫卡和中國、卡夫卡和余華的特殊關(guān)系�？ǚ蚩▽χ袊幕橛歇氱姡斨袊诉�不知道有卡夫卡這個人的時候，卡夫卡已經(jīng)在研讀中國文化，這為卡夫卡在中國的譯介提供了先天因素。后來卡夫卡的作品被一批優(yōu)秀的英語和德語翻譯者介紹和大量譯入中國，其中《卡夫卡全集》是一部收集卡夫卡作品最全面的中文翻譯作品，這些翻譯作品的出版為卡夫卡在中國的傳播和接受起到很重要的作用。余華就是受到卡夫卡影響的作家之一。然后分析了余華接受卡夫卡影響的時代契機，他兩人都是荒誕世界中生活過的人，一個生活在爆發(fā)了“反猶主義”的奧地利，一個在“文化大革命”中讀的小學(xué)�？ǚ蚩ǖ募彝ド睢⒐ぷ餍再|(zhì)和身份地位都很尷尬。他是猶太人，在家庭中與父親關(guān)系不和，工作與他所學(xué)的專業(yè)和寫作的愛好都關(guān)系不大。而余華則幸運多了，他雖然在文革中長大，卻通過寫作進入他渴望的文化館工作，他把文學(xué)創(chuàng)作當成了一種職業(yè)。 接下來是卡夫卡對余華藝術(shù)特征的影響，首先是對真實這一概念的認識，卡夫卡把余華從寫作的困境中解救出來，使得他認識到真實不是就事論事，而是能認識世界的語言和結(jié)構(gòu)，如欲望、想象和夢境。其次是《一九八六年》對《變形記》的敘事模式的模仿，余華的《一九八六年》對《變形記》的敘事模式有所模仿，也有所突破。 最后分別從刑罰主題的比較、孤獨主題的比較和父子沖突的比較中，分析卡夫卡和余華的共通點和差異。第一，刑罰的主題，比較了《在流放地》和《往事與刑罰》，這兩篇小說的主人公都是刑罰專家，他們把刑罰當作一種可供欣賞的技藝，作品表現(xiàn)了對暴力的反諷。第二，孤獨的主題，比較了《司爐》和《十八歲出門遠行》，小說的主人公都是獨自旅行，與世界作第一次交鋒的孩子的“孤獨”更多是因為這個世界的秩序是為成年人準備，孩子是個闖入者。第三，比較的主題是困擾卡夫卡一生，也自始至終沒有解決的問題——父子沖突。余華也表現(xiàn)了這一主題，，但是二人對這個主題的表現(xiàn)上有所區(qū)別。卡夫卡在《判決》和《變形記》中塑造的格奧爾格以及格里高爾形象在父親的蔭庇之下，體會到的是難言的痛苦，成了父權(quán)的犧牲品。而余華的《在細雨中呼喊》中的典型的父子沖突，卻是循環(huán)的關(guān)系，當父親老了，兒子有了家庭，父權(quán)受到了顛覆。 結(jié)論指出余華的早期小說與卡夫卡的小說相比，部分可以看成是對卡夫卡小說的闡釋性模仿，但是也有升華的部分。余華這種對卡夫卡的解讀和借鑒，給中國作家創(chuàng)作出追趕乃至超越外國文學(xué)作品這一現(xiàn)實層面提供一個成功的例子。余華的小說在外國獲得的成功也是余華主動參與世界文學(xué)的結(jié)果。在這個過程中卡夫卡功不可沒。
[Abstract]:The paper first analyzes the special relationship between Kafka and China, Kafka and Yu Hua. Kafka has a special love for Chinese culture. When the Chinese did not know Kafka, Kafka was already studying Chinese culture, which provided the innate factor for Kafka's translation in China. Later, Kafka's works were introduced and translated into China by a group of excellent English and German translators. Among them, Kafka complete works is the most comprehensive translation of Kafka's works in Chinese. The publication of these translated works plays an important role in the dissemination and acceptance of Kafka in China. Yu Hua is one of the writers influenced by Kafka. Then it analyzes the opportunity for Yu Hua to accept Kafka's influence. They are both people who lived in the absurd world, one living in an "anti-Semitic" Austria and one in a primary school in the "Cultural Revolution". Kafka's family life, nature of work and status are embarrassing. He was Jewish, had trouble with his father in the family, and had little to do with his major or his hobbies of writing. Yu Hua, though he grew up during the Cultural Revolution, entered the cultural center work he longed for through writing, and regarded literary creation as a profession. The following is the influence of Kafka on Yu Hua's artistic characteristics, first of all, his understanding of the concept of reality. Kafka rescued Yu Hua from his writing predicament, making him realize that truth is not a matter of the subject. But to understand the language and structure of the world, such as desire, imagination and dreams. The second is the imitation of the narrative mode of the Metamorphosis in 1986, and the imitation and breakthrough of the narrative mode of the Metamorphosis by Yu Hua's 1986. Finally, the common points and differences between Kafka and Yu Hua are analyzed from the comparison of penalty theme, lonely theme and father-son conflict. First, the theme of punishment, the comparison between "in exile" and "the past and punishment", the protagonists of these two novels are penalty experts, they regard punishment as an appreciable skill, the works show the irony of violence. Second, the theme of loneliness, compared with "the stove" and "going on a long trip at the age of eighteen", the protagonists of the novel travel alone, and the "loneliness" of the children who make the first encounter with the world is more because the order of the world is for adults. The child is an intruder. Thirdly, the theme of comparison is the conflict between father and son, which puzzles Kafka all his life. Yu Hua also showed this theme, but the two people on the performance of this theme is different. Under the shadow of his father, the Georg and Gregory images created by Kafka in judgment and Metamorphosis become victims of paternity. The typical parent-son conflict in Yu Hua's shouting in the drizzle is a circular relationship. When the father is old, the son has a family, and the patriarchal power is subverted. The conclusion is that Yu Hua's early novels can be regarded as explanatory imitation of Kafka's novels, but there is also sublimation. Yu Hua's interpretation and reference of Kafka provide a successful example for Chinese writers to catch up with and surpass foreign literary works. Yu Hua's success in foreign countries is also the result of Yu Hua's active participation in world literature. In this process, Kafka made a great contribution.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：I106.4-03

【參考文獻】

相關(guān)期刊論文 前1條

1 趙光平;;試論卡夫卡和余華筆下父子沖突的文化內(nèi)涵[J];電影文學(xué);2009年04期

本文編號：1780226