中韩现代讽刺小说研究

发布时间：2018-06-13 03:43

本文选题：讽刺效果 + 比较文学　；参考：《中央民族大学》2016年博士论文

【摘要】：本论文中,中韩现代讽刺小说指的是1917年至1949年(中国)和1910年至1945年(韩国)这一历史时期的讽刺小说。对中国和韩国来说,这是一个野蛮与文明、邪恶与正义、黑暗与光明互相对峙、斗争的特定的历史时期。面对这样的社会现实中韩现代讽刺作家拿起笔来,以自己的方式,同国内外反动统治者和顽固的封建主义展开了殊死的博战。在这特殊的历史时期,中韩现代讽刺文学根植于各自国家的古代讽刺文学土壤,接受外来讽刺文学的理论、题材和表现方法,取得了无愧于时代的出色成就。本论文运用西方及中韩两国的现代讽刺理论,以中韩两国的传统讽刺艺术为参照,对中韩讽刺小说的发展历程、思想蕴含、叙事技巧、美学特征等作了全方位解剖,以期对中韩现代讽刺小说有一个比较客观而全面的认识。本论文主要由以下几个部分组成：绪论中首先对讽刺和讽刺小说的概念及其特点进行了阐释,然后对本论文的选题意义、现行研究、研究范围和研究方法做了阐述。第一章主要阐明了中韩现代讽刺小说蓬勃发展的原因及其发展情况。中韩现代讽刺小说的有三个源头：源远流长的古代讽刺文学和丰富多彩的民间讽刺文学,异彩纷呈的外国讽刺文学,内忧外患的特殊历史环境。首先,回顾了两国古代讽刺文学的发展历程,探讨了中韩现代讽刺小说对传统文化艺术的继承情况。韩国现代讽刺小说在语言特色、人物描写、塑造形象等方面继承了韩国古典口传小说、假面剧、板索里(说唱)剧等传统艺术的文化精髓和文化底蕴；中国现代讽刺小说也继承了传统的口传文学、讲唱文学、古典小说以及相声等中国传统艺术特有的文学趣味和艺术手法。中韩现代讽刺小说在叙事技巧,即故事情节的表现方式、通俗语言的诙谐表达、人物描写的夸张、戏拟等手法上具有共性,这源于两国在传统艺术的共性及两国作家对本国传统文学艺术的传承。然而传承的具体过程和方法上的不同,也是两国现代讽刺小说存在差异的原因之一。其次,这个时期,中韩两国进行了大量外国讽刺作品和理论文献的译介工作,这与两国现代讽刺文学的蓬勃发展是密不可分的。如鲁迅翻译了厨川白村的《除了象牙之塔》和鹤见yP辅的杂文集《思想·山水·人物》；周作人评价的日本讽刺诗、希腊洛斯留吉的讽刺诗、英国著名讽刺作家斯威夫德的散文《婢仆须知》、日本狂言喜剧《立春》等。在韩国,崔载瑞在朝鲜日报介绍了阿道司·赫胥黎的讽刺理论并根据他的理论在韩国文学上史上第一次出版了讽刺理论著作《讽刺文学论》；韩植介绍了果戈理等俄罗斯小说家的讽刺小说并在东亚日报发表了《讽刺文学论》等评论,提出了讽刺的概念。这些都极大的影响了中韩两国现代讽刺文学的创作。最后,对这一时期的历史背景和中韩现代讽刺小说演进的轮廓进行了阐述。现代中国和韩国,是社会最严酷最黑暗的年代,野蛮与文明、邪恶与正义、黑暗与光明互相对峙、斗争。这两样的历史背景,给中韩现代讽刺小说的蓬勃发展提供了历史舞台。这一时期讽刺小说的大量出现,是当代作家们对这些混乱局势的认识和文学应对的结果。第二章重点论述了中韩现代讽刺小说的多重主题。面对国内外危机重重、民不聊生的黑暗社会,两国讽刺小说家门毫不犹豫的拿起了笔,揭露了现实生活中的各种矛盾,揭示生活中形形色色的人物,特别是拨开一些人物的虚伪假面,揭穿他们的内心实质,同时也表现了受压迫人民是怎样在苦难中挣扎和斗争的。首先,社会上的种种矛盾和黑暗,都是当时统治制度的必然产物,要消灭这个黑暗,就得根本推翻那个黑暗的制度本身。因此,中韩两国的讽刺作家们首先把批判的矛头指向了当时的社会政治制度,对殖民地半殖民地的当时社会历史背景下活跃着的官僚、政客、知识分子、市侩、骗子和小丑们,进行了无情的揭露与打击,让他们无处存身。其次,现代的中韩两国经历推陈布新的“五四”新文化运动和“开化期运动”以后,开启了一场深刻的社会思想、文化变革。因此,一些所谓“新派人物”们否定传统文化,主张“重估一切价值”,要求大量引进西方文化,甚至于“全盘西化”。实际的情形要远为复杂,对文化的接受与汲取也并非壁垒分明,一些人是把两种文化相掺和,杂糅新旧,但是其中的“新”的仅仅只是新文化的皮相,他们只学习西方人的物质享受、行为方式,西方文明的核心精神和“科学”、“民主”、“平等”、“竞争”等西方文明的精髓他们却没有学到。他们学到的知识一些带洋味的万事荒唐的手段,片面追求西方生活方式。中韩两国作家通过对他们的婚姻、恋爱生活的描写展示出其似新实旧的虚伪丑陋的一面。最后,这一时期的中韩作家们,具有高度的人本意思,也都注意在作品中反映真实的人性。就20世纪的世界文学来看,“向内转”是文学发展的潮流,从对人的外部描写走向描写人的心灵、真实的人性,把艺术的触角伸向人性隐秘的一角,丰富了文学中的人性描写。现代以来,中韩两国思想界、文化界的先驱者们对人性问题非常关注,并把提高国人的人性作为社会进步发展的一个关键性问题。于是,两国的作家们关注各个阶层人物身上的人性的普泛性,尤其是“恶”的一面,以人性的扭曲和变异折射出时代与社会的变迁。中韩现代小说的讽刺,融政治讽刺、道德讽刺、世态讽刺与人性讽刺于一体,全面而深入地暴露和讽刺了20世纪上半叶中韩两国的黑暗、腐朽的社会现实。第三章研究了中韩现代讽刺小说的创作技巧与讽刺效果。第一节探讨了讽刺小说的叙事方法。讽刺小说以批判和矫正现实社会为其目的,而讽刺小说对讽刺对象的批判和攻击又是迂回和间接的。为了巧妙地吸引读者的注意力,向读者传递作家的意图和主题并说服读者,讽刺小说就需要用独特的技法与读者进行沟通,而这一技法就是叙事方法。叙事方法可分为三大类型。第一种类型是调整叙事距离。通过调节隐含作家与叙述人的距离或叙述人与隐含读者之间的距离,改变读者对讽刺对象的态度,提高讽刺效果。当隐含作家与叙述人的叙事距离近的时候,可以让读者对叙述人的态度产生共鸣；当叙事距离远的时候,可以让读者对叙述人采取客观而又批判性的态度。第二种类型是使用口述性叙事。口述性谈论指以日常口语的形式与社会各文化阶层的现实读者进行对话。口述性谈论使用的是读者们熟悉的套话,注解叙事等方法,可以比较容易的让读者对作者意图产生共鸣,从而达到了讽刺效果。第三种类型是加强对话。为了实现有效的表达,采用口述故事的方式或引用日常对话的方式与读者进行交流。讽刺小说的叙事方法归根结底是将讽刺对象与讽刺目的不明示于文章中的情况下,为说服读者做贡献。第二节,对讽刺修辞方法进行探讨。讽刺修辞指的是作者调动语言手段造成讽刺效果的方法。利用讽刺修辞构成的讽刺图景(或情感)往往是不假思索,一望即知的,故称之为直观讽刺构图。中韩现代讽刺小说中有许多讽刺修辞手法,本小节中择其要者,如戏拟,反讽,滑稽模仿,夸张,比喻,曲解,比拟等,进行探讨。第四章中韩讽刺小说的审美风格。首先,通过对中韩悲剧性讽刺小说的分析,探讨了悲剧性讽刺小说中悲剧美的表现形态、情感模式、美学风格。接着,对中韩喜剧性讽刺小说的表现形态、情感模式及美学风格进行了探讨。然后,根据丑的理论,探讨了“丑”作为一种特殊的美学形态,在中韩现代讽刺小说中的表现及其艺术价值。中韩现代小说里出现大量关于“丑”的描写,而讽刺小说中“审丑”是讽刺作家看待世界的一种独特的方式之一,起到讽刺作家与现实世界之间美学联系的作用。首先,对“丑”和其在中韩现代讽刺小说中的表现进行了研究。依据罗森克兰茨(Rosenkranz)对“丑”的理论,丑分为自然的丑、外形的丑、精神的丑及艺术的丑四种,本节中具体查看了前三种形态的“丑”在中韩现代讽刺小说中是如果演变成艺术的丑,并探讨了艺术丑的审美价值。最后,总结了中韩现代讽刺小说的在艺术风格上的异同点。
[Abstract]:In this paper, Chinese and Korean modern satire refers to the satirical novels of the historical period from 1917 to 1949 (China) and 1910 to 1945 (Korea). For China and South Korea, this is a period of barbarism and civilization, evil and justice, the confrontation between darkness and light, and the specific historical period of the struggle. In this special historical period, the Chinese and Korean Modern Satirical Literature was rooted in the ancient satirical literary soil of their own countries and accepted the theories, themes and methods of expression of foreign satire in this special historical period. With the modern satire theory of the West and China and South Korea, this paper, taking the traditional satirical art of China and South Korea as the reference, makes an omni-directional anatomy of the development course, ideological implication, narrative techniques and aesthetic features of the Chinese and South Korean satirical novels, with a view to a more objective and comprehensive understanding of the Chinese and Korean modern satire novels. This thesis is mainly composed of the following parts: the introduction first explains the concept and characteristics of satire and satire, and then expounds the significance of the topic, the current research, the scope of research and the research methods. The first chapter mainly expounds the reasons and development of the flourishing development of the Chinese and Korean modern satirical novels. There are three sources of Han and modern Satire: the ancient satirical literature and rich and colorful folk satire, foreign satirical literature, and the special historical environment of internal anxiety and external suffering. First, the history of the ancient satirical literature of the two countries was reviewed, and the inheritance of the traditional Chinese and Korean satirical novel to the traditional culture and art was discussed. Modern Korean satire has inherited the cultural essence and cultural connotation of classical Korean oral biography, fictional drama, rap drama and other traditional arts in the aspects of language characteristics, character description, and image. Chinese modern satire also inherits traditional oral literature, singing literature, classical novels and cross talk and so on in China. The Chinese and Korean modern satire novels have common features in narrative techniques, the expression of the plot, the humorous expression of popular language, the exaggeration of character description, and the imitation of drama, which stems from the generality of the two countries in the traditional art and the inheritance of the traditional literature and art of the two countries by the two countries. The difference in the specific process and method of inheritance is also one of the reasons for the difference between the Modern Satirical Novels of the two countries. Secondly, in this period, China and South Korea have carried out a large number of foreign satirical and theoretical literature translation work, which is inseparable from the vigorous development of Modern Satirical literature between the two countries. For example, Lu Xun translated the "except in the kitchen of kitchen and the white village" "The tower of elephant tower > the tower of ivory >" and "the yP auxiliary" of the crane: "thought, landscape and character"; Zhou Zuoren's Japanese satirical poem, the satirical poem of the Greek rooserie, the essays of J Wilf De, the famous British satirist, the servant of the maidservant, and the Japanese wild comedy < Li Chun >. In Korea, Cui Zairui introduced Adas Hexley's satire in the DPRK daily. On the basis of his theory, he first published the satirical literary theory of satirical theory in the history of Korean literature. Han Yi introduced the satirical novels of Gogol and other Russian novelists and published the comments on satirical literature in the East Asia daily and put forward the concept of satire. These have greatly influenced the modern satire between China and South Korea. In the end, the historical background of this period and the outline of the evolution of Chinese and Korean modern satire are expounded. Modern China and Korea are the most harsh and darkest times of society, barbarism and civilization, evil and justice, the confrontation between darkness and light, and the struggle. These two historical backgrounds give the Chinese and Korean Modern Satirical Novels a flourishing hair. The exhibition provides a historical stage. The emergence of the satirical novel in this period is the result of the contemporary writers' understanding of these chaotic situations and the result of the literary response. The second chapter focuses on the multiple themes of the Chinese and Korean Modern Satirical Novels. It takes up the pen, exposes the various contradictions in the real life, reveals the various kinds of characters in life, especially the false facades of some characters, exposes their inner essence, but also shows how the oppressed people struggle and struggle in the suffering. First, the social contradictions and darkness are the rule system of the time. The inevitable product, to eliminate the darkness, had to overthrow the dark system itself. Therefore, the Chinese and Korean satiriers first directed their criticism to the social and political system of the time, and to the bureaucracy, politicians, intellectuals, philistine, swindlers and clowns that were active in the colonial and semi colonial context of the social and historical context. We have carried out a merciless disclosure and attack to keep them from being saved. Secondly, the modern Chinese and South Korea have opened a profound social thought and cultural change after the new "54" new cultural movement and the "opening period movement". Therefore, some so-called "new personages" deny the traditional culture and "reevaluate everything". "Value" requires a large number of western culture, even "full Westernization". The actual situation is far from complex, and the acceptance and absorption of culture is not a barrier. Some people blend and mix the two cultures and mix new and old, but the "new" is only the skin of the new culture, and they only learn the material enjoyment of the westerners, They have not learned the essence of Western civilization, such as the core spirit of Western civilization, "science", "democracy", "equality", "competition", and other Western civilizations. In the end, the Chinese and Korean writers in this period have a high degree of human meaning and pay attention to the true human nature in their works. For the world literature of the twentieth Century, "turning inward" is the trend of literature development, from the external description of people to the description of the human mind, the true human nature, and the true human nature. The antennae of art extends to the hidden corner of human nature and enriches the description of human nature in literature. For the time being, Chinese and Korean ideological circles, the pioneers of the cultural circles pay great attention to the problem of human nature, and raise the human nature of the people as a key issue for the development of social progress. The universal nature of human nature, especially the "evil" side, reflects the changes of the times and society with the distortion and variation of human nature. The irony of Chinese and Korean modern novels, with political satire, moral satire, world satire and human satire, exposes and satirize the dark and decadent social reality of the two countries in the first half of the twentieth Century. The third chapter studies the writing skills and satire effects of the Chinese and Korean Modern Satirical Novels. The first section discusses the narrative method of the satirical novel. The satirical novel aims at criticizing and correcting the real society, and the satirical novel's criticism and attack on the satirical object are circuitous and indirect. The writer's intention and theme will be persuaded to persuade the reader that the satirical novel needs to be communicated with the reader with a unique technique, and this technique is a narrative method. The narrative method can be divided into three types. The first type is to adjust the distance between the narrative distance and the distance between the implied writer and the narrator and the distance between the person and the implied reader. Change the reader's attitude to satire to improve the satire. When the narrative distance between the implied writer and the narrator is near, the reader can resonate with the narrator. When the narrative distance is far away, the reader can take an objective and critical attitude to the narrator. The second types are oral narration. Sexual talk refers to dialogue with the realistic readers of every cultural class in the society in the form of daily spoken language. Oral talk is used by readers, and annotating narrative methods can make readers resonate with the author's intention easily and achieve satire effect. The third types are to strengthen dialogue. The narrative method of satirical fiction is, in the final analysis, to make the satirical and satirical purposes inexplicit in the article, and to make contributions to the readers. In the second section, the method of satire is discussed. Satire refers to the author's tone. The sarcasm (or emotion) made up of sarcasm (or emotion), which is made of ironic rhetoric, is often unthought, which is known as an intuitional ironic composition. There are many ironic rhetorical devices in the Chinese and Korean Modern Satirical Novels. In this section, there are many rhetorical devices in this section, such as parody, irony, parody, hyperbole, metaphor, misinterpretation, and analogy. The fourth chapter is the aesthetic style of the Chinese and Korean satirical novels. First, through the analysis of the tragic satire novels in China and Korea, the expression form, emotional mode and aesthetic style of tragic satire novels are discussed. Then, the expression form, emotional mode and aesthetic style of the Chinese and South Korean comic satire novels are discussed. According to the theory of ugliness, the expression and artistic value of "Ugliness" as a special aesthetic form in Chinese and Korean modern satirical novel are discussed. There are a lot of description of "Ugliness" in the Chinese and Korean modern novels, and the "Ugliness" in the satirical novel is one of the unique ways for the satirist to look at the world. The role of aesthetic connection between the real world is studied. First, the expression of "Ugliness" and its modern satire in China and Korea is studied. According to the theory of "Ugliness" by Rosenkranz (Rosenkranz), ugliness is divided into four kinds: natural ugliness, appearance ugliness, spiritual ugliness and artistic ugliness. In this section, the "Ugliness" of the first three forms is examined in this section. In the modern Chinese and Korean satire novels, if they evolve into the ugliness of art, the aesthetic value of art ugliness is discussed. Finally, the similarities and differences in the artistic style of the Chinese and Korean modern satire novels are summarized.
【学位授予单位】：中央民族大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I106.4

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