三岛由纪夫与余华作品中的死亡意识比较

发布时间：2018-03-22 22:23

本文选题：死亡意识　切入点：死亡描写　出处：《辽宁大学》2008年硕士论文　论文类型：学位论文

【摘要】： 三岛由纪夫和余华都是描写死亡的高能作家,且皆以残酷的死亡描写著称。但由于个人经历、文化背景等诸多因素的不同,两位作家看似相似的死亡描写背后隐藏的各自的死亡意识却是不尽相同的。三岛由纪夫因童年的特殊经历,形成了逆反的性心理。从这种逆反的性心理出发,不自觉地形成了嗜血与嗜死的浪漫冲动。继而经由现实的冲击和主动吸收日本文化传统中关于死亡的知识,逐渐形成以死为美的死亡意识,并在其作品中将这种意识表现出来。相比之下,余华由于童年时期对死亡的司空见惯,造成了对于死亡恐惧感和神秘感的消失,使得其作品中的死亡描写虽则暴烈,却无美感。死亡似乎只是一个符号,其意义在作品中并未体现出来。因而,两位作家表现死亡的方式也不同。三岛作品中表现的多为爱与性之死、青春之死和主动之死,而余华的作品中表现的则是对现实的感伤和幻灭、否定理性承认非理性的世界、本能的暴力冲动和宿命等方面的内容。随着创作的进行,两位作家的死亡意识也发生着不同的转变。三岛由纪夫将以死为美的死亡意识升华为一种教义,继续将之渗透于作品之中;余华则“由死向生”,转向悲悯和写实了。论文以平行研究的方法为主、影响研究的方法为辅,对比分析三岛由纪夫和余华两位作家相似的残酷的死亡描写之后不同的死亡意识,探寻出作家的死亡意识的不同实则为不同文化背景影响的结果。论文共分为三章。第一章从死亡意识形成的角度对比分析两位作家意识不同的性格、时代和文化原因;第二章从发展中对比分析两位作家死亡意识的不同演变;第三章总体分析两位作家死亡意识的异同,得出结论:三岛由纪夫和余华的死亡描写具有相似的残酷性,但由于死亡意识的不同,使得他们在作品中表现死亡的方式也不尽相同。三岛由纪夫以死为美的死亡意识和余华作品中表现出来的死亡意识的缺失,是诸多因素不同的综合结果。综观中国当代文坛,虽然许多作家笔下的死亡描写都充满残酷抑或表面上的“看上去很美”,但均与三岛由纪夫表现的残酷与美并存的死亡意识有着本质上的不同。不仅余华的残酷死亡描写缺乏三岛由纪夫作品中那种以死为美的死亡意识,即使莫言、张承志作品中看似很美的死亡描写,也不具三岛由纪夫作品中的那种真正的美的内涵。残酷的死亡描写在当代众多作家的笔下往往只是一种写作手段,而不能体现作家真正的死亡意识。结束语部分用影响研究的方法,试析三岛的死亡意识对余华小说创作的影响,浅谈三岛与余华、莫言、张承志死亡意识的不同及文化原因。
[Abstract]:Both Miyashima and Yu Hua are high energy writers who describe death, and are famous for their cruel description of death. However, due to the differences of personal experience, cultural background and many other factors, The two writers' seemingly similar depiction of death hides different consciousness of death. As a result of his special childhood experience, Mishima Yukio formed a sexual psychology of rebellion. From this kind of renegade sexual psychology, It unconsciously forms the romantic impulse of bloodthirsty and death-loving, and then, through the impact of reality and the active absorption of the knowledge of death in Japanese cultural tradition, gradually forms the consciousness of death which is beautiful to death, and expresses this consciousness in his works. By contrast, Yu Hua's usual childhood experience of death has led to the disappearance of fear and mystery about death, which makes the description of death in his works, though violent, unaesthetically. Death seems to be just a symbol. Its significance is not reflected in the works. As a result, the two writers have different ways of expressing death. In the works of the three islands, love and sex die, youth and active death, while Yu Hua's works show sentimental and disillusionment of reality. The negative reason admits the irrational world, the instinctive violent impulse and the fatalism and so on. With the development of creation, the death consciousness of the two writers also changed differently. Yukio Miyashima sublimated the death consciousness of death as a kind of doctrine and continued to infiltrate it into his works. Yu Hua "from death to life", to compassion and realism. The thesis is based on the parallel research method, supplemented by the influence research method, and compares and analyzes the different death consciousness after the similar cruel death description of the two writers, Yukio Mishima and Yu Hua. It is found that the different consciousness of death is the result of different cultural backgrounds. The thesis is divided into three chapters. The first chapter contrasts and analyzes the two writers' different characters, times and cultural reasons from the angle of the formation of the consciousness of death, the second chapter contrasts and analyzes the different evolution of the two writers' consciousness of death from the point of view of the formation of the consciousness of death. The third chapter analyzes the similarities and differences of death consciousness between the two writers, and draws a conclusion: the death description of Yukio Mishima and Yu Hua has similar cruelty, but due to the different consciousness of death, The death consciousness of Miyashima and the lack of death consciousness in Yu Hua's works are the combined results of many different factors. Looking at the contemporary Chinese literary world, Although many writers' depictions of death are full of cruelty or superficial "look very beautiful", they are essentially different from the death consciousness of Yukio Miyashima, which is both cruel and beautiful. It is not only Yu Hua's cruel death. The depiction of death lacks the death consciousness of the beauty of death in the works of Yukio Mishima. Even Mo Yan, the seemingly beautiful description of death in Zhang Chengzhi's works does not have the true beauty in the works of Yukio Mitsushima. The cruel description of death is often only a means of writing in the works of many contemporary writers. In conclusion, the author tries to analyze the influence of the death consciousness of the three islands on Yu Hua's novel creation by using the method of influence research, and discusses the differences and cultural reasons between the death consciousness of the three islands and those of Yu Hua, Mo Yan and Zhang Chengzhi.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I106.4;I0-03

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