1990年以来日华文学的叙事学研究

发布时间：2018-01-15 07:00

本文关键词：1990年以来日华文学的叙事学研究　出处：《武汉大学》2014年博士论文　论文类型：学位论文

【摘要】：基于20世纪90年代以来日华文学研究相对欠缺的事实,本论文选择了晚近二十多年来的日华文学为研究对象。在具体研究中,论文运用结构主义叙事学和后结构主义叙事学理论,选择以文学母题叙事作为切入这项研究的一个主要途径,既从总体上梳理日华文学的发展实绩,也尝试对其进行深层次的叙事学角度上的解读与分析。同时,论文也运用了权力、现代消费、后殖民批评理论。这主要基于以下考量,日华文学作为华文文学的分支,它具备浓郁的跨国、跨文化的异质背景,是一种极富“主体间性”的对象文本,它不仅反映着文本主体跨文化背景下的意识形态和权力关系配置,也显示着文本母题叙事在特定时空背景下的复杂演绎。另外,意识形态的不同指向和权力的每一次配置都在一定程度上涉及到作为“他者”的日本和作为“自我”的主体之间的复杂粘连,基于文本内涵和外延已经释放出的丰富的文化语境信息,只有将叙事学理论和权力等理论很好地结合起来才能展开对日华文学母题叙事的分析和研究。在以上理论的统一观照视域下,论文将日华文学母题分为五个单元：情欲母题、图像母题、灾难母题、他者母题、边缘母题,根据每个母题在日华文学中的演变轨迹,论文从母题叙事的角度对其展开论述。这样,论文共分为五章。第一章是情欲叙事。日华文学是按照情欲的私人性、隐秘性和情欲的社会性、消费性两条逻辑展开叙事和描写的。前者展现日华作家对“情欲”符号的形而上的无止境的探索,将目标转向了对情欲在个体生命中内涵与意义的挖掘。后者则主要聚焦并展示现代消费文化背景下情欲和权力等社会化元素之间的复杂勾连与彼此牵制,在这种背景下,情欲更多地是与权力、消费达成了一种“合谋”。第二章是图像叙事。它指涉着日华作家主体想象在异域时空中构图结构的变化。日华作家在跨国、跨文化的背景下充分发挥主体“我思”的功能,对个体身处的不同的现实语境、个人历史、个人记忆等进行了不同程度的图像式的建构,衍生了相似性想象、表现式想象等图像生成模式,不同的想象方式完成了对作家日本经验与中国经验图像的勾勒,最终汇聚成对日华作家主体图像结构的一种表呈。第三章是灾难叙事。这一章主要聚焦并挖掘日华文学灾难叙事的立场、叙事主题、叙事手法等,发掘日华文学灾难叙事形态和叙事立场的意义和价值。第四章从“他者”母题出发,对日华文学中的“双重他者”进行了多层次的探讨。口华文学的他者叙事集中表现在日本人、日本风景、日本器物三个层面上。它们投射出主体对“他者”和“自我”关系的自觉思考。第五章是边缘母题叙事。日华文学的边缘叙事主要集中反映在边缘人形象的建构、边缘叙事空间的建构和边缘叙事话语策略的使用上。边缘叙事一方面凸显在日中国人身份的尴尬与焦灼,另一方面也折射着儒家文化在现代消费文化背景下的颓败走势,更反映着后现代语境下新型的边缘独立知识群体的出现。从文学母题叙事角度出发,论文对日华文学近二十多年的发展从纵向和横向上都进行了细致而又客观的分析和阐释,从而为日华文学研究做出了一些抛砖引玉的工作。
[Abstract]:Since 1990s the research literature based on the fact that the relative lack of China, this paper selected the recent more than 20 years of Japanese literature as the research object. In this dissertation, based on narratology of structuralism and post structuralism narrative theory to literary motif narrative as a main way of starting the study, not only from the the development of performance overall combing Rihua literature, also try to interpret and analyse its deep narrative angle. At the same time, the paper also uses the power of modern consumption, postcolonial criticism. This theory is mainly based on the following considerations, China as a branch of Chinese literature in the literature, it has strong multinational, heterogeneous cross cultural background, is a rich text object of "intersubjectivity", it not only reflects the main text under the background of cross cultural ideology and power relations also showed a configuration. The text of the narrative motif in complex interpretation of specific background. In addition, each time the configuration of different ideologies and power point to a certain extent related to the Japanese as "the other" and as "self adhesion complex" between subjects, rich cultural connotation and extension of the text context information has been released based on and only the narrative theory and power theory are well combined to analyze and study the Japanese literature narrative motif. A unified perspective on the above theory, the thesis will Japanese literary motif is divided into five units: the erotic image motif, motif, motif of disaster, the other edge according to the motif, motif, evolution track of each motif in Rihua in literature, from the perspective of the narrative motif is discussed. This paper is divided into five chapters.
The first chapter is the narrative of lust. Literature is in accordance with the personal desires nycca, social secrecy and lust, consuming two logical narration and description. The former shows endless exploration of "lust" writer Rihua metaphysical symbols, aiming to excavate connotation in the individual life and passion meaning. The latter mainly focused and show the social elements between lust and power of modern consumer culture under the background of complex collusion with each other, in this context, passion is more and power consumption, reached a "conspiracy". The second chapter is the image narrative. It refers to a Japanese writer imagine the structure change of composition in time. Japanese writers in foreign multinational, give full play to the main function of "I think" the cross-cultural background, the individual in different context, personal history, personal memory To construct image type in different degree, derived from the similarity of imagination, imagination, expression image generation mode, different imagination complete sketches of Japanese writers experience and experience Chinese image, a table is converged on the writer image structure Rihua pairs. The third chapter is the disaster narrative. The main focus of chapter and literature mining Rihua disaster narrative position, narrative theme, narrative techniques, explore the significance and value of literary narrative form and narrative Japanese disaster position. In the fourth chapter, from the "other" motif of the Japanese literature in the "double other" for a multi-level discussion. The other narrative literature in China focus on the performance of Japanese landscape in three aspects, Japanese, Japanese vessels. They projected out of the main "consciously thinking other" and "self" relationship. The fifth chapter is the edge of the narrative motif. Nycca The edge of narrative literature is mainly reflected in the construction of edge image, edge and edge of narrative space construction of narrative discourse strategies. On the one hand on the edge of narrative highlights in the Chinese identity embarrassment and anxiety, on the other hand also reflects the Confucian culture and consumer culture under the background of declining trend in the modern, more reflect a new edge in post modern context independent intellectual groups. Starting from the literature narrative point of view, the nearly more than 20 years of development China literature from the longitudinal and transverse directions are analyzed in detail and analysis and interpretation of objective, thus making some works as the research Japanese literature.

【学位授予单位】：武汉大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：I206.7

【参考文献】