论刘震云小说的意象世界
发布时间：2019-01-27 10:39
【摘要】：刘震云是中国当代文坛上“新写实”派的主要代表作家之一,他的小说被誉为“日常的荒诞叙事”的典型代表。在当代文学评论中,文学评论家多侧重于对刘震云作品现实意义的解剖,对文本本身的语言性研究较少涉及。在刘震云的作品中,意象的穿插与铺排不仅丰富了文本本身的语言性,也建构和拓展了文本的艺术空间,在艺术审美中升华了文本的主题,具有十分重要的研究价值与意义。本文从刘震云小说的意象类型、小说中的意象艺术建构以及小说意象的文本意义三方面来阐述刘震云小说的意象世界。在第一部分,本文把刘震云小说文本意象类型划分成标题意象、物象意象和抽象意象三种。刘震云小说的标题极具意象性,它既是文本的中心意象,也是刘震云意象表达中最不同于其他作家的部分,他在对作品标题的设置上,摒弃空灵混沌的抽象概念,而是选择直截了当的生活习语,把人们在日常中最为感同身受的语言直接设为作品的标题,巧妙地化解了文本世界与生活世界的主体隔阂,使得作品中的真实在标题的意象里获得意义的澄明。物象意象是刘震云小说中数量最多、关系最复杂、分布最广泛的意象群,物象意象使得刘震云小说中那些审美元素直接脱离了最初的纯文本意象,使这些审美元素更加接近于作家想要表达的日常真实世界。以“说话”意象为代表的抽象意象,是刘震云小说中最具特色的一种意象,也是本文的创新点之一。刘震云的《一句顶一万句》、《一腔废话》等文本中人物关系的建立与破裂,都是因“能说上话”或是“说不上话”这些标题意象而生成与发展的。刘震云小说的意象艺术建构是本文的第二部分,本文将刘震云意象的艺术建构划分为意象化叙事、意象化人物塑造、意象化主题三个结构来讨论。意象化叙事是刘震云小说中意象处理在文本上最直接的表现,叙事手法和叙事特征都由一个个意象串联起来。意象化人物塑造是刘震云小说中意象带给读者的直接观感,读者通过文本中所塑造的人物形象来进行意象主题的分析,人物性格决定人物命运,人物命运揭示生存现状,生存现状烘托文本主题。刘震云小说中意象的文本意义主要表现在对人情关系的解构、对奴性的批判以及对权力的异化三个方面。刘震云小说中解构了浪漫主义作家对于人情关系的赞美,用现实冷峻的笔调引领读者感悟在现实日常生活中,在严峻的生存状态情势下所逼迫的人情冷暖。同时,刘震云对中国社会中底层小人物的奴性进行了现实的批判,对在权力压迫下异化的人情和人性进行了深度的思考和解剖。
[Abstract]:Liu Zhenyun is one of the main representative writers of the "New realism" school in the contemporary Chinese literary world, and his novels are regarded as the typical representatives of the "daily absurd narration". In contemporary literary criticism, literary critics mostly focus on dissecting the realistic significance of Liu Zhenyun's works, and less on the linguistic study of the text itself. In Liu Zhenyun's works, the insertion and arrangement of images not only enriches the language of the text itself, but also constructs and expands the artistic space of the text, and sublimates the theme of the text in the art aesthetics, which has very important research value and significance. This paper expounds the image world of Liu Zhenyun's novel from three aspects: the type of image in Liu Zhenyun's novel, the artistic construction of image in the novel and the textual significance of novel image. In the first part, the text image types of Liu Zhenyun's novels are divided into three types: title image, object image and abstract image. The title of Liu Zhenyun's novel is very imaginative. It is not only the central image of the text, but also the most different part from other writers in the image expression of Liu Zhenyun. In setting up the title of his works, he abandons the abstract concept of emptiness and chaos. Instead, they choose the direct idiom of life, set the language that people most sympathize with in daily life directly as the title of the work, and deftly dispel the barrier between the text world and the subject of the life world. So that the truth in the work in the title of the image of the meaning of clarity. Image is the most abundant, complex and widely distributed image group in Liu Zhenyun's novels. The image of object image directly separates those aesthetic elements from the original pure text image. To bring these aesthetic elements closer to the everyday real world that the writer wants to express. Abstract image represented by "speech" image is one of the most distinctive images in Liu Zhenyun's novels and one of the innovations of this paper. The establishment and rupture of the relationship between the characters in Liu Zhenyun's "one sentence top ten thousand sentences" and "one cavity of nonsense" are all generated and developed by the title images of "can speak" or "can't talk". The artistic construction of Liu Zhenyun's novel image is the second part of this paper. This article divides the artistic construction of Liu Zhenyun image into three structures: image narrative, image character shaping and image theme. Imagery narrative is the most direct expression of image processing in Liu Zhenyun's novels, and narrative techniques and narrative characteristics are connected by images one by one. Imago character shaping is the direct perception of the readers brought by the images in Liu Zhenyun's novels. The readers analyze the image themes through the characters created in the text. The characters' character determines the fate of the characters, and the fate of the characters reveals the present situation of existence. The status quo of existence fosters the theme of the text. The textual significance of the imagery in Liu Zhenyun's novels is mainly manifested in the deconstruction of human relations, the criticism of servility and the alienation of power. Liu Zhenyun's novels deconstruct the Romantic writers' praise of the human relationship and lead the readers to realize the cold and warm human feelings forced in the severe living conditions in the real life. At the same time, Liu Zhenyun criticizes the servility of the underclass in Chinese society, and deeply ponders and dissects the alienation of human feelings and human nature under the oppression of power.
【学位授予单位】：华中科技大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.42
本文编号：2416181
[Abstract]:Liu Zhenyun is one of the main representative writers of the "New realism" school in the contemporary Chinese literary world, and his novels are regarded as the typical representatives of the "daily absurd narration". In contemporary literary criticism, literary critics mostly focus on dissecting the realistic significance of Liu Zhenyun's works, and less on the linguistic study of the text itself. In Liu Zhenyun's works, the insertion and arrangement of images not only enriches the language of the text itself, but also constructs and expands the artistic space of the text, and sublimates the theme of the text in the art aesthetics, which has very important research value and significance. This paper expounds the image world of Liu Zhenyun's novel from three aspects: the type of image in Liu Zhenyun's novel, the artistic construction of image in the novel and the textual significance of novel image. In the first part, the text image types of Liu Zhenyun's novels are divided into three types: title image, object image and abstract image. The title of Liu Zhenyun's novel is very imaginative. It is not only the central image of the text, but also the most different part from other writers in the image expression of Liu Zhenyun. In setting up the title of his works, he abandons the abstract concept of emptiness and chaos. Instead, they choose the direct idiom of life, set the language that people most sympathize with in daily life directly as the title of the work, and deftly dispel the barrier between the text world and the subject of the life world. So that the truth in the work in the title of the image of the meaning of clarity. Image is the most abundant, complex and widely distributed image group in Liu Zhenyun's novels. The image of object image directly separates those aesthetic elements from the original pure text image. To bring these aesthetic elements closer to the everyday real world that the writer wants to express. Abstract image represented by "speech" image is one of the most distinctive images in Liu Zhenyun's novels and one of the innovations of this paper. The establishment and rupture of the relationship between the characters in Liu Zhenyun's "one sentence top ten thousand sentences" and "one cavity of nonsense" are all generated and developed by the title images of "can speak" or "can't talk". The artistic construction of Liu Zhenyun's novel image is the second part of this paper. This article divides the artistic construction of Liu Zhenyun image into three structures: image narrative, image character shaping and image theme. Imagery narrative is the most direct expression of image processing in Liu Zhenyun's novels, and narrative techniques and narrative characteristics are connected by images one by one. Imago character shaping is the direct perception of the readers brought by the images in Liu Zhenyun's novels. The readers analyze the image themes through the characters created in the text. The characters' character determines the fate of the characters, and the fate of the characters reveals the present situation of existence. The status quo of existence fosters the theme of the text. The textual significance of the imagery in Liu Zhenyun's novels is mainly manifested in the deconstruction of human relations, the criticism of servility and the alienation of power. Liu Zhenyun's novels deconstruct the Romantic writers' praise of the human relationship and lead the readers to realize the cold and warm human feelings forced in the severe living conditions in the real life. At the same time, Liu Zhenyun criticizes the servility of the underclass in Chinese society, and deeply ponders and dissects the alienation of human feelings and human nature under the oppression of power.
【学位授予单位】：华中科技大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I207.42
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