狂欢化理论的渊源与发展

发布时间：2018-03-12 21:24

本文选题：狂欢化　切入点：巴赫金　出处：《华中师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 本论文以巴赫金提出的狂欢化理论为核心,试图探寻狂欢化理论产生的历史渊源,阐明狂欢化理论的基本特征和意义,考察狂欢化理论在当代西方的发展以及在中国的接受情况。本论文的正文部分共分为四章: 第一章“狂欢化溯源”,对巴赫金提出的狂欢化理论进行了理论溯源。“carnivalesque”(狂欢化)一词来源于“carnival”(狂欢节)。“carnival”一词是在基督教诞生之后出现的,但狂欢节作为一种文化现象,早在古希腊罗马时期就存在。狂欢化理论在西方具有深厚的理论基础,从古希腊罗马,中世纪,文艺复兴及浪漫主义时期直到19世纪,不同时期的人们都关注这种文化现象,并逐渐形成狂欢理论的全民性、颠覆性、乌托邦理想等基本特征。第二章“巴赫金的狂欢化理论”,着重探讨了巴赫金的狂欢化理论的基本内涵、特征和意义。巴赫金不仅揭示狂欢化蕴含的文化意义,而且还将狂欢化作为一个文学批评术语提出来,将它作为小说文体的一种重要特征,并用它来分析具体的小说文本。巴赫金认为狂欢节的各种仪式和世界感受在文学作品中的体现即为“狂欢化”。第三章“狂欢化理论在西方的发展”,在巴赫金之后,当代西方学者对狂欢化理论的运用和发展,主要表现在两个方面:一方面是将“狂欢”作为小说文本的一种特征继续加以研究,以米兰·昆德拉为代表;另一方面是将其作为后现代文化重要特征之一加以研究,约翰·菲斯克为代表。后来学者对狂欢化理论继承的同时,由于历史时代环境的变化,他们各自理论中也都呈现出一些新的特点,如民间文化的诙谐转变为后现代的幽默,全民的狂欢变为个人的狂欢,广场节庆的狂欢变为日常生活的狂欢。这些新特点也可以说是狂欢化理论在新时期发展的结果。第四章“狂欢化理论在中国的接受”,主要考察狂欢化理论在中国的接受和变异的情况。本章首先介绍了狂欢的相关理论在中国的译介,并力图指出中国学者对这一理论接受和理解过程中存在的问题。其次,狂欢化理论在中国批评领域的运用主要表现在两个方面,一方面是运用狂欢化理论分析具体文学文本,另一方面是分析中国当下的文化现象。狂欢化理论在中国的运用存在着理论与文学和文化脱节的情况。由于对狂欢化理论的理解不够透彻,加上中国文学文化的独特性,在运用中多少存在着一些牵强附会。
[Abstract]:Based on Bakhtin's carnival theory, this paper attempts to explore the historical origin of carnival theory and clarify the basic characteristics and significance of carnival theory. The main body of this thesis is divided into four chapters:. The first chapter, "Carnival tracing to the Source", traces the theoretical origin of Bakhtin's carnival theory. The word "carnivalesque" comes from "carnival" (Carnival). "carnival" appears after the birth of Christianity, but Carnival is a cultural phenomenon. The carnival theory has a deep theoretical foundation in the West, from ancient Greece to Rome, the Middle Ages, Renaissance and Romanticism until 19th century, people in different periods pay attention to this kind of cultural phenomenon. And gradually formed the carnival theory of the whole people, subversive, utopian ideals and other basic characteristics. The second chapter, "Bakhtin's Carnival Theory", focuses on the basic connotation, characteristics and significance of Bakhtin's carnival theory. In addition, the carnival was put forward as a literary criticism term, and it was regarded as an important feature of the style of the novel. Bakhtin thinks that all kinds of ceremonies and world feelings of carnival are "carnival" in literary works. Chapter three, "the Development of Carnival Theory in the West", after Bakhtin, the contemporary western scholars apply and develop the carnival theory. There are two main aspects: on the one hand, we continue to study Carnival as a feature of the novel text, represented by Milan Kundera, and on the other hand, we study it as one of the important features of postmodern culture. John Fiske is the representative. Later, when scholars inherited the carnival theory, due to the changes in the historical environment, their respective theories also showed some new characteristics, such as the humor of folk culture turned into post-modern humor. The carnival of the whole people becomes the individual carnival, the carnival of the square festival becomes the carnival of daily life, these new characteristics can also be said to be the result of the development of the carnival theory in the new period. Chapter 4th, "reception of Carnival Theory in China", mainly examines the reception and variation of carnival theory in China. This chapter first introduces the translation and introduction of carnival theory in China. Secondly, the application of carnival theory in the field of Chinese criticism is mainly manifested in two aspects, on the one hand, the use of carnival theory to analyze specific literary texts. On the other hand, it analyzes the current cultural phenomena in China. There is a disconnection between theory and literature and culture in the application of carnival theory in China. Due to the lack of thorough understanding of carnival theory and the uniqueness of Chinese literature and culture, There are some far-fetched meetings in use.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I0

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