库切的自传性创作研究

发布时间：2018-06-20 09:51

本文选题：库切 + 新自传　；参考：《四川师范大学》2012年硕士论文

【摘要】：传统自传重视资料价值,以纪实性为目的,以真实来追求真实而往往忽略了自传所具有的思想价值和艺术价值,库切对此提出了质疑,他更深刻的思考什么是自传,如何更好的呈现真实的问题,他提出了一切自传都是故事叙述的自传观,把真实与虚构融合来创作一种带有虚构色彩的自传,并在《男孩》、《青春》、《夏日》、《凶年纪事》的创作中进行了尝试,渗透着他的独特的时间意识和对社会、历史的独到见解及自我的深刻反思的这四部独特自传《男孩》、《青春》、《夏日》、《凶年纪事》分别从不同方面对传统自传提出了挑战。本论文共分三章第一章,探讨《男孩》和《青春》的第三人称现在时态叙事的尝试,这是库切对传统自传的第一人称回顾性视角的反叛,《男孩》和《青春》以一个处于边缘地带的孩子的视角进行叙述,并伴随着聚焦的隐性转换,这样一种第三人称的叙述方式更具客观性,从而避免了第一人称叙事所造成的主观专断的静止效果。而一般现在时态的运用,渗透了库切独特的时间观,使得叙述时间与经验时间出现了重合,文章中偶尔的回忆现象也即成为即兴的回忆,从而也就消除了传统自传的过去时态中由于遗忘所带来的不确定性。第二章,探讨《夏日》中借“他人”生活书写个人历史主题的独特创作尝试,传统自传是通过个人生活来完整的展现自我的,库切认为他人生活与自我生活是纠缠在一起的,在《夏日》中他把自我揉碎放入朱莉亚、玛戈特、阿德瑞娜、马丁、苏菲这些人的故事中,在更广阔的生活圈子里,更大的历史背景中,通过碎片来呈现自我映像,探求自我真相,这也是对传统自传书写自我的一种拓展。第三章,探讨《凶年纪事》中的对话性创作尝试,库切不赞同传统自传以自我言说的独白方式探求真实,而是允许不同声音的存在,他认为通过对话呈现出来的事实更具真理性,融入库切对社会的深刻认识,对人生的深刻反思的《凶年纪事》由于所采用的对话策略而形成的开放状态是对传统自传企图通过独白的方式而呈现真相的封闭状态的一种创新。
[Abstract]:Traditional autobiographies attach importance to the value of materials, pursue reality for the purpose of reality, but often ignore the ideological value and artistic value of autobiography. Kuchet questions this, and he thinks more deeply about what is autobiography. How to better present the true question, he proposed that all autobiography is the autobiographical view of story narration, the fusion of truth and fiction to create a kind of autobiography with fictional color. And in the creation of "Boy", "Youth", "Summer", "the Bad year Chronicle", which permeates his unique sense of time and society, These four unique autobiographies of historical originality and introspection of themselves, "Boy", "Youth", "Summer" and "the Chronicle of the terrible year" respectively challenge the traditional autobiography from different aspects. This thesis is divided into three chapters: the first chapter, to explore the third person present tense narrative attempt of "Boy" and "Youth". This is Kuchet's rebellion against the first person retrospective perspective of the traditional autobiography, "Boys" and "Youth" narrated in the perspective of a marginal child, accompanied by a recessive shift in focus. Such a third-person narrative is more objective, thus avoiding the subjective static effect caused by the first-person narration. The use of the general present tense permeates Kuche's unique view of time, which makes the narrative time coincide with the experiential time. The occasional recollection phenomenon in the article is also called improvisational memory. Thus, the uncertainty caused by oblivion in the past tense of traditional autobiography is eliminated. In the second chapter, we discuss the unique creation of personal historical theme written by "others" in "Summer". Traditional autobiography is a complete display of self through personal life. Kuche believes that other people's life and self life are intertwined. In Summer, he crumpled himself into the stories of Julia, Margot, Adelina, Martin, Sophie, and in the broader world of life, in the larger historical context, he represented himself through fragments. Seeking self-truth is also an extension of traditional autobiography. In chapter three, we discuss the dialogical creation in the year of the Bad. Kuche does not agree that traditional autobiographies seek truth in the monologue of self-talk, but allow the existence of different voices. He believed that the facts presented through dialogue were more genuine and integrated with Kuchet's profound understanding of society. The opening state formed by the dialogical strategy used in the profound introspection of life is an innovation in the closed state of the traditional autobiography which attempts to present the truth through monologue.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I478.074

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