叙事学视域中的《平家物语》研究

发布时间：2018-02-28 12:29

本文关键词： 《平家物语》觉一本军事小说叙事学　出处：《吉林大学》2014年博士论文　论文类型：学位论文

【摘要】：《平家物语》是日本中世纪名作，讲述了平安时代末期，贵族、武士、僧侣等各方势力争权夺霸、风云动荡的历史。全书时间跨度近百年，空间几乎覆盖整个日本列岛，涉及上至天皇、贵族，下到百姓、歌女等众多阶层。《平家物语》不仅是军事小说的代表作，就整个日本文学史而言，也是当之无愧的杰作。《平家物语》之最大特色在于成书过程。伴随着琵琶法师的弹唱，平家故事流传于整个日本，成为能够反映日本国民思想、备受日本国民追捧的文学作品，又被称为“国民叙事诗”。后代的许多文学作品、戏剧、电影、电视、漫画等取材于《平家物语》，足见其受喜爱的程度。《平家物语》版本众多，首先有两大类：一被称为读本，主要供阅读；二被称为话本，主要供说唱。话本又根据有无〈灌顶卷〉分为：有〈灌顶卷〉之“一方流”诸本；无〈灌顶卷〉之“八坂流”诸本。流传最广、受众最多的，当属“一方流”诸本中的觉一本。笔者选取了觉一本为研究对象：其一、觉一本在诸本中流传最广，能够反映当时日本民众思想，能够代表该作品的创作语境和接受语境；其二、觉一本成书较晚，有明显的艺术加工痕迹，从叙事学之角度而言，拥有更高的艺术成就和研究价值。日本对《平家物语》的研究起步较早，数量也很可观，主要呈现以下特点：研究内容不断细化，细致到某个人名、地名、语音的考证；跨学科领域的研究成果日益增多。中国对《平家物语》的认识始于翻译，近年来研究成果数量持续增长。由于具备中国文化、文学的独特优势，我国的研究者们自然地将视线聚焦于中日比较文学领域，进行影响研究和比较研究。本论文的研究，是以叙事学理论为支撑，以梳理《平家物语》所采用的叙事策略及其所取得的叙事功能为主体，以考察作者的主观叙事意图与作品的客观叙事效果为核心，以解读《平家物语》对中国文学原型的置换变形为旨趣。在叙事体例领域，我们结合中国传统文论，重在阐释《平家物语》的叙事网络，发掘中国的史传传统对《平家物语》叙事体例的影响。在《平家物语》中，编年体例贯穿全篇，以纵向的时间为线索，历时性地叙述了日本平安时代末期风云际会的动荡历史；纪传体例交叉其间，以横向的空间为线索，共时性地交代了历史人物与历史事件的前因后果；编年体与纪传体的完美契合，形成了纵横交错的网络，共同构筑出作品的叙事脉络。就叙事视角而言，我们发现《平家物语》交替使用了全知视角和变换式人物有限视角。时而采用全知视角，越界干涉叙事，或者随意变换聚焦对象，或者任意透视人物内心世界，印证了全知叙述者的全知全能。时而采用限知视角，将叙述眼光聚焦于次要出场人物，刻意隐瞒主角人物的真实身份，造成关键信息的留白，增强了作品的神秘感和吸引力。在《平家物语》内部，全知视角和限知视角的不断流动、交替运用，，创造出良好的叙事弹性机制，从而也获得了新颖的艺术张力与审美意味。从叙事结构的角度来看，《平家物语》并没有囿于叙事先后顺序地僵化格局中，而是对历史上的故事时间进行了切割与重组，恰当好处地采用了预叙、插叙、补叙、倒叙、分叙等叙事手法，造成了时间倒错的叙述机制，构建出富有层次的多维叙事时空。叙事文体方面，觉一本中和歌、连歌、狂歌、歌谣等韵文体的运用，不仅是叙事的需要，也是为了满足叙述者、琵琶法师、乃至广大读者和听众的情感诉求。我们还发现《平家物语》中的很多歌谣均与佛教、神道教等宗教信仰、巫术等神秘现象密切相关。这既反映出当时的日本民众普遍敬畏神佛、鬼魂，希望借助歌舞表演等形式取悦神佛，安抚亡灵；也从另一个角度折射出佛教、神道教、巫术等为了获得广泛的群众支持，也借助了歌谣的形式。叙事话语领域，作者的叙事话语，与出场人物的叙事话语的变化转换，不但可以调节叙述速度，还可以调节叙述者、出场人物与受众之间的关系。《平家物语》作品内部充满了人物与人物之间、集团与集团之间的对话与交锋，但叙述者对于他们之间的矛盾冲突并未给出明确评判，这鲜明地体现出众声喧哗的“复调”特征。由此可见，《平家物语》并非由单一的儒家伦理观念所支配，也不是片面地强调神佛的权威性，而是让道、佛以及其他意识形态之间形成对话关系，并在这个对话过程中形成众声喧哗的场面。就叙事手法与人物形象而言，类比法、对比法、衬托法等各有千秋，又都服务于《平家物语》的整体框架。类比手法的运用，使得出场人物、出场团体的命运两两相应，相得益彰，既节省了笔墨，又在无形之中放大了他们的性格特点和命运特征。对比手法的运用，不仅突出了人物的典型性格特征，彰显了作者的褒贬之意，还渲染了作品的悲剧色彩。衬托手法可以更大限度地透视人物的内心世界，烘托主角的非同寻常。圆形人物形象饱满而逼真，扁平人物形象性格突出；在《平家物语》中互为衬托与关照，共同表现出历史转型期的社会万象。叙事文本与主题方面，借助文学原型理论，我们可以发现：《平家物语》与中国文学之间存在的相互指涉关系，但与此同时，作者又在潜移默化中对中国文学原型进行了置换变形，使之更符合日本的“正统观”。《平家物语》是一部反映社会转型期动荡历史的时代画卷；正是多位立场不同、阶层各异、经历有别的作者和讲述者的参与，才在不同程度上添加或者渲染了他们各自的思想主张，共同为《平家物语》编织了一张多综复杂的主题网络。综上所述，叙事学视域中的《平家物语》，涵盖叙事体例、叙事视角、叙事结构、叙事文体、叙事话语等诸多叙事策略。它们共同服务于《平家物语》的整体结构，提升了作品的艺术张力，渲染了作品的悲剧氛围。其次，觉一本所取得的良好叙事效果，体现了作者在谋篇布局方面的匠心独运。但在某些方面，作者的主观叙事意图、与作品呈现的客观叙事效果之间也存在着偏差，从而使得人物形象存在错综矛盾的多面性，比如平清盛、平重盛的人物形象。这反映出《平家物语》并非完成于一人之手，而是成书于不同立场的讲述者、传播者。所以，作品的叙述呈现出多义性、多面性。再次，《平家物语》虽然受到了中国文学的诸多影响，但并非单纯地照搬或模仿，而是于微妙之处改变了中国文学原型的所指。笔者认为这正是日本民族集体无意识的深层体现：中国正统论观念传入日本后便受到扬弃，其中改朝换代的因素完全摒除。因此，《平家物语》对“烽火戏诸侯”、“荆柯刺秦”等中国文学原型进行了置换变形，赋予其新的解释，使之更符合日本当时被视为“正统观”的神国思想。
[Abstract]:< > is the Japanese medieval story of the ping's masterpiece, tells the story of the end of the era of peace, nobles, warriors, monks and other factions jockeying for hegemony, Fengyun turbulent history. The time span of nearly a hundred years of space, covering almost the entire Japanese islands, involving to the emperor, nobles, down to the people, and many other classes. AlMe heik story > is not only a representative military novel, throughout the history of Japanese literature, the biggest feature. The story of the ping's masterpiece > is lies in the process of the book fully deserve. Accompanied by the pipa master and Ping's story spread in the whole of Japan, be able to reflect the Japanese national ideology, highly sought after Japanese national literature works, also known as the "national epic". Many works of literature, film, TV drama offspring, and comic books based on the story of the ping's < >, which shows the popular degree.
< > heik story version of the first two categories: one is called the reader, mainly for reading; two is called vernacular, mainly for vernacular and rap. According to whether the "volume" initiations are divided into: "initiation" roll "party" the free volume "initiation;" the "eight ban flow". The most widely circulated, most of the audience, is "one flow" in the sense of a book. The author selected a sensation as the object of study: first, in the sense of one of the most widely circulated, can reflect the thoughts of the people of Japan, can on behalf of the literary context and the reception context; second, the book sleep late, there are obvious signs of art processing, from the perspective of narratology, with artistic achievement and value of higher.
The < heik story > research started earlier in Japan, the number is also very impressive, mainly has the following characteristics: the research content is constantly refined, meticulous to a personal name, place name, voice and textual research; research interdisciplinary field increased. Understanding of the story of the ping's < > Chinese in translation, the number of research continues growth in recent years. Because of its unique advantages of Chinese culture, literature, researchers in China are naturally attention will be focused on in the field of comparative literature, influence research and comparative research.
The research of this paper is using the narrative theory, summarizes the "story of the ping's > the narrative strategy and the narrative function as the main body, objective narrative effect on subjective narrative author's intention and works as the core, to interpret < heik story > Chinese replacement on Literary Prototype deformation for the purpose.
In the field of narrative style, we combine the Chinese traditional literary theory, focusing on the interpretation of the story of the ping's < > narrative network, explore the history of traditional Chinese < heik story > narrative style influence. In the story of the ping's < >, chronological cases throughout the film, from the longitudinal time as a clue, diachronic description the turbulent history at the end of the meeting of wind and clouds in Heian Japan; biographical style cross during the horizontal space as the clue, synchronic account of historical figures and historical events and the history of annalistic style antecedents and consequences; perfect fit, form a network to construct arranged in a crisscross pattern, the narrative context.
On the narrative perspective, we find that the < heik story > alternates omniscient point of view and transform characters with limited view. Sometimes the omniscient perspective, cross-border interference narrative, or to transform the object of focus, or any perspective on the inner world of characters, confirms the narrator's time. The limited perspective omniscient and omnipotent, will focus on the narrative perspective minor characters, deliberately conceal the true identity of the protagonists, caused by the key information space, enhance the sense of mystery works and the attraction. In the story of the ping's < >, omniscient perspective and limited perspective by alternating the constant flow, to create a narrative elastic mechanism of good, and also won the artistic and aesthetic tension that novel.
From the perspective of narrative structure, "story of the ping's > is not bound by order to rigid narrative pattern, but the story time in the history of cutting and recombination, appropriate to the benefits of adopting the pre Syria, chaxu flashbacks, Syria, supplemented, divided into narrative techniques, resulting in the narrative mechanism of anachrony and construct the multi-dimensional narrative time and space rich layers.
The narrative style, and feel a song, song, song, with songs rhyme style, narrative is not only the need, but also to meet the narrator, Pipa master, emotional appeal and the majority of readers and listeners. We also found that many songs < heik story > both Shinto and Buddhism, etc. religion, witchcraft and other mysterious phenomena are closely related. This not only reflects the Japanese people generally fear of deities, ghosts, hoping to dance performances and other forms to please the Lord Buddha, to appease the dead; from another point of view reflects Buddhism, Shinto, witchcraft and so on in order to gain wide public support, with the help of songs form.
The field of narrative discourse, the author's narrative discourse and narrative discourse, changing the characters, not only can adjust the narrative speed, but also can adjust the appearance of the narrator, between the internal relationship between the characters and the audience. Heik story > works is full of characters and characters, dialogue and confrontation between the group and the group, but the narrator for contradiction the conflict between them did not give a clear judgment, which clearly reflect clamors of "polyphony" features. Thus, < heik story > is not dominated by Confucian ethics is not a single, one-sided emphasis on the authority of God, but out of the way, the formation of dialogue relationship between Buddhism and other ideologies, and the the noise scene formed in the dialogue process.
On the narrative and characters, analogy method, comparison method, method of overall framework against each one has its own merits, and serve the < heik story >. By analogy, the characters, on the fate of the group 22, complement each other, not only saves ink, and amplifies the characteristics and features of their fate in the invisible. The use of the contrast, not only highlights the typical characters, reveals the author's judgments of Italy, also rendered the works of tragedy. Against manipulation to a greater extent perspective figures of the inner world of the main characters. The characters full of extraordinary round and vivid, flat characters personality; in the story of the ping's < >, set off each other and care, together to demonstrate the historical transition of the social Vientiane.
Narrative text and theme, with the help of literature archetype theory, we can find that: "between heik story and China > literature refers to the relationship between each other, but at the same time, the author also imperceptibly to China Literary Prototype of displacement and deformation, which is more consistent with Japan's" orthodox view "is the story of the ping's >. A reflection of social transition turbulent history era is a picture; a different position, different class, experience is another author and narrator in addition in different degrees or render their ideas with each other, together for the story of the ping's < > weave a more complex network.
In summary, the narrative from the perspective of "Ping's story", covering narrative style, narrative perspective, narrative structure, narrative style, narrative and other narrative strategies. The overall structure of their common services in the < heik story >, enhance the artistic charm, rendering the tragic atmosphere.
Secondly, feel good effect obtained a narrative, reflecting the author's imaginative in writing. But in some respects, subjective narration of the author's intention, and between the work presented the objective narrative effect also exists deviation, so that the characters are multi-faceted, intricate contradictions such as Ping Sheng heavy Taira Kiyomori. Characters. This reflects the < heik story > is not completed in the hands of one person, but a book in the different positions of the narrator, spread. So, the narrative shows ambiguity, multi-faceted.
Again, < heik story > despite many influence China literature, but not simply copy or imitate, but in subtle changes China literary archetype refers to. I think this is the embodiment of the Japanese national collective unconsciousness: China orthodox theory was introduced into Japan by abandoning the concept of the change dynasties. The factors are completely removed. Therefore, < heik story > to play war lords, "Jing Ke Qin" China Literary Prototype of displacement and deformation, give it a new interpretation, to make it more in line with Japan was regarded as "orthodoxy" thoughts of God.

【学位授予单位】：吉林大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：I313.074

【参考文献】