从单声到多声：王蒙小说叙述声音流变研究

发布时间：2018-06-30 10:08

本文选题：王蒙 + 叙述声音　；参考：《湖北师范学院》2015年硕士论文

【摘要】：本文按照时间顺序,从叙述声音角度将王蒙小说分为单声阶段、多声初步形成阶段、多声发展深化阶段,分别对其流变过程和各阶段叙述声音的特征及其原因进行论析。同时,对其各阶段叙述声音精神内含的深广度和欠缺进行分析,探讨中国现当代作家在这方面的共同欠缺及其个人、文化与社会原因。本文分为如下五个部分:绪论部分主要交代本文的写作背景、目的及意义。在叙事学视阈下,借助结构主义、女性主义的相关理论,结合巴赫金“复调”小说的对话理论,从理论层面确定从本文对叙述声音的理解和从这个角度研究王蒙小说的可能。第一章:以王蒙文学创作初期的代表作之一《青春万岁》为例,通过从叙述者话语、人物话语、转述性话语、人物形象体系的建构等方面确认这一阶段王蒙小说具有强烈的作者控制型特征,这一特征体现在叙述声音层面,就使小说具有明显的“单声”特征,这种单声特征反映了作者的单极化意识形态立场。在此基础上,本章将对形成这种单声特征的个人、文化和社会原因进行分析,并与同时期的相关代表作进行比较,以揭示王蒙早期独白型小说话语单声特征的主客观原因。第二章:以王蒙文学创作转变期的代表作之一《蝴蝶》为例,从人物内心独白、叙述语调等层面分析王蒙在这一时期小说叙述话语在延续单声状态残存的同时,开始出现了“杂声”和“杂语”的因素。叙述话语一方面不断弱化作者控制型的特征,另一方面又对异己性声音保持“宽容”。与此同时,对人物形象世界也出现多样性评判趋势,这些都间接反映出了作者所坚持的单极化意识形态走向复杂化的端倪。在此基础上,本章将探寻产生这一变化的主客观因素。第三章:以《活动变人形》为例,论析王蒙文学创作在80年代后期进入一个多声发展深化阶段,这部小说中,不仅叙述者与作者产生了“距离”,叙述者话语、人物话语和转述话语也都出现了明显的多声特征。而人物形象塑造和设置方面的新格局、多维叙事视角的选择和转换都显示,作者基本超越了单一意识形态评判标准和一元世界观的统摄,叙述的多声形态基本形成。多声部叙述声音的形成也印证了作者在审美和文学趣味层面的转变,这与王蒙自己对人生和社会认识的深化、对新时代多元文化和观念格局的认识和适应密切相关。余论部分主要探究王蒙小说叙述声音由单声到多声、由独白向对话转变与时代变化和个人适应的总体关联。同时,指出王蒙小说第三个阶段“多声部”叙述声音之下的精神浅表性,这种浅表性与王蒙自己个人的人生道路与世界观、他对当下现实的适应性选择等原因有最为深刻的联系。同时,这一特征对于当代中国作家和文学也具有极大代表性,因此,以之为标本透视中国当代作家和文学的历史特征和局限,有着特殊的价值。
[Abstract]:According to the time sequence, this paper divides Wang Meng novels into monophonic stage, multi-sound initial formation stage and multi-sound development and deepening stage from the angle of narrative sound, and analyzes the evolution process and the characteristics and causes of narrative sound in each stage. At the same time, the author analyzes the depth and lack of the narrative spirit in each stage, and probes into the common deficiency and individual, cultural and social reasons of modern and contemporary Chinese writers in this respect. This paper is divided into five parts as follows: the introduction mainly describes the background, purpose and significance of this paper. From the perspective of narratology, with the help of the relevant theories of structuralism and feminism and the dialogue theory of Bakhtin's "polyphonic" novel, the author determines the possibility of studying Wang Meng's novels from the theoretical level and from this perspective. Chapter one: taking one of the masterpieces of Wang Meng's literary creation, Viva Youth, as an example, through the narrator's discourse, the character's discourse, the paraphrase discourse, The construction of character image system confirms that Wang Meng novels in this stage have strong characteristics of author control, which is embodied in the level of narrative sound, which makes the novel have a distinct "single sound" feature. This monophonic feature reflects the author's unipolar ideological position. On this basis, this chapter will analyze the individual, cultural and social reasons that formed this monophonic feature, and compare it with relevant representative works of the same period in order to reveal the subjective and objective reasons of monophonic features in Wang Meng's early monologue novels. Chapter two: taking Butterfly, one of Wang Meng's representative works in the period of literary creation transformation, as an example, the author analyzes Wang Meng's narrative discourse in this period, while continuing the monophonic state, from the aspects of character monologue and narrative intonation. The emergence of the "mixed voice" and "miscellaneous language" factors. Narrative discourse, on the one hand, constantly weakens the characteristics of the author's control, on the other hand, it maintains "tolerance" to the dissident voice. At the same time, there is a trend of diversity in the world of characters, which indirectly reflects the complicated trend of the unipolar ideology insisted by the author. On this basis, this chapter will explore the subjective and objective factors that lead to this change. The third chapter: taking "the activity changes the Human form" as an example, analyzes the Wang Meng literature creation enters a multi-tone development deepening stage in the late 1980s, in this novel, not only the narrator and the author produced the "distance", narrator discourse. The character discourse and the reporting discourse also appear the obvious multi-tone characteristic. However, the new pattern of character image shaping and setting, and the choice and transformation of multidimensional narrative perspective, show that the author has basically exceeded the control of single ideological criterion and univariate world outlook, and the multi-tone form of narration has been basically formed. The formation of multi-part narration also confirms the author's changes in aesthetic and literary tastes, which is closely related to Wang Meng's deepening of his own understanding of life and society, and his understanding and adaptation to the multi-cultural and conceptual pattern of the new era. The last part mainly explores the overall relationship between the narration voice of Wang Meng's novels from single to multi-tone, from monologue to dialogue with the change of the times and personal adaptation. At the same time, the author points out that in the third stage of Wang Meng's novels, the "multi-voice" narration of the spirit is superficial, which is related to Wang Meng's own personal way of life and world outlook. He has the most profound connection to the adaptation choice of the present reality. At the same time, this feature also has great representativeness for contemporary Chinese writers and literature. Therefore, it is of special value to take it as a specimen to see through the historical characteristics and limitations of Chinese contemporary writers and literature.
【学位授予单位】：湖北师范学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.42

【相似文献】