《我的名字叫红》的文化研究
发布时间：2018-11-25 14:43
【摘要】：本文从文化方面入手，在文本细读的基础上，试图以霍米巴巴的后殖民主义理论来研究《我的名字叫红》中的一些文化特点。本文从以下三个方面展开，第一部分从小说的呼愁主题入手，探讨了文本中由东西方文化冲突导致的土耳其人的文化身份危机现象以及其成因。土耳其由于特定的地理位置和历史文化，形成了独特的文化身份，既不属于东方也不属于西方，因此对于东西方文化的入侵虽然感到焦虑，但又不得不学习东西两方的优点。第二部分从传统和后现代这两种叙事手法的运用，文本中的各种意象的含义，，以及不同人物对待绘画艺术的不同态度三个方面来分析小说的文化混杂特质，从而研究帕慕克的混杂理论在小说中的应用和体现。传统叙事特点体现在整篇小说全部以第一人称有限视角叙事，每章变换不同的叙事者。后现代叙事特点体现在文类混杂，利用各种非常规的叙事者来打破故事的连续性和完整性。文本中的意象众多，本文选取了两组对立统一的，能够体现帕慕克混杂理论的意象来加以分析。一组是红色和绿色，红色在文本中是世俗幸福以及创造力的象征，绿色代表了宗教和传统对于人的束缚。另一组是盲人和看得见的人。盲人象征着固步自封，墨守成规的保守派，看得见的人则象征着以开放的心态接受外来文化的人们。文本中的人物大致可以分为三组：画师高雅先生和奥斯曼大师是传统细密画家的代表；苏丹和姨父大人主张向西方学习油画和透视技巧；凶手橄榄和黑先生则认为东西方艺术应该交流融合。这些意象和人物的设置表现出帕慕克对于各种文化思想的尊重以及对于多元文化和谐共存的期待。第三部分对于土耳其传统文化的衰落、西方的生活方式和文化思想的入侵，到两种文化相最终相融合的现象及其原因进行了探究，着重分析土耳其现代化进程中的文化演变过程，从而得出结论，引起文化冲突交流演变的原因在于传统与现代的矛盾，最终取决于生产力水平的发展。
[Abstract]:On the basis of careful reading of the text, this paper attempts to study some cultural characteristics in my name Red by using HomiBaba's postcolonial theory. The first part begins with the theme of exclamation in the novel and probes into the cultural identity crisis of Turks caused by the conflict between East and West cultures in the text and its causes. Turkey, because of its special geographical location and historical culture, has formed its unique cultural identity, which neither belongs to the East nor the West, so it is anxious about the invasion of the Eastern and Western cultures, but it has to learn the advantages of both the East and the West. The second part analyzes the cultural hybrid characteristics of the novel from three aspects: the use of traditional and post-modern narrative techniques, the meanings of various images in the text, and the different attitudes of different characters towards painting art. In order to study the application and embodiment of Pamuk's hybrid theory in the novel. The characteristic of traditional narration is that the whole novel is narrated from the first person's limited angle of view, with different narrators in each chapter. The characteristics of post-modern narration lie in the mixing of literary types and the use of various unconventional narrators to break the continuity and integrity of the story. There are many images in the text. One group is red and green, red in the text is the symbol of secular happiness and creativity, green represents the religious and traditional constraints on human beings. The other group is blind and visible. Blind people symbolize self-fixed, conservative, and visible people who accept foreign cultures with an open mind. The characters in the text can be roughly divided into three groups: the painters, Mr. elegant and the Master Osman are the representatives of the traditional meticulous painters, the Sultan and his uncle advocate learning oil painting and perspective techniques from the West; Mr. Olive and Mr. Black, the murderer, believe that eastern and western art should be intermingled. The setting of these images and characters shows Pam's respect for all kinds of cultural thoughts and his expectation for the harmonious coexistence of multiculturalism. The third part explores the decline of the Turkish traditional culture, the invasion of the western way of life and cultural thought, and the phenomenon and reasons of the two cultures finally merging together. The cultural evolution process in the process of Turkish modernization is analyzed, and the conclusion is drawn that the reason for the evolution of cultural conflict lies in the contradiction between tradition and modernity, and ultimately depends on the development of productive forces.
【学位授予单位】：湖南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I374.074
本文编号：2356476
[Abstract]:On the basis of careful reading of the text, this paper attempts to study some cultural characteristics in my name Red by using HomiBaba's postcolonial theory. The first part begins with the theme of exclamation in the novel and probes into the cultural identity crisis of Turks caused by the conflict between East and West cultures in the text and its causes. Turkey, because of its special geographical location and historical culture, has formed its unique cultural identity, which neither belongs to the East nor the West, so it is anxious about the invasion of the Eastern and Western cultures, but it has to learn the advantages of both the East and the West. The second part analyzes the cultural hybrid characteristics of the novel from three aspects: the use of traditional and post-modern narrative techniques, the meanings of various images in the text, and the different attitudes of different characters towards painting art. In order to study the application and embodiment of Pamuk's hybrid theory in the novel. The characteristic of traditional narration is that the whole novel is narrated from the first person's limited angle of view, with different narrators in each chapter. The characteristics of post-modern narration lie in the mixing of literary types and the use of various unconventional narrators to break the continuity and integrity of the story. There are many images in the text. One group is red and green, red in the text is the symbol of secular happiness and creativity, green represents the religious and traditional constraints on human beings. The other group is blind and visible. Blind people symbolize self-fixed, conservative, and visible people who accept foreign cultures with an open mind. The characters in the text can be roughly divided into three groups: the painters, Mr. elegant and the Master Osman are the representatives of the traditional meticulous painters, the Sultan and his uncle advocate learning oil painting and perspective techniques from the West; Mr. Olive and Mr. Black, the murderer, believe that eastern and western art should be intermingled. The setting of these images and characters shows Pam's respect for all kinds of cultural thoughts and his expectation for the harmonious coexistence of multiculturalism. The third part explores the decline of the Turkish traditional culture, the invasion of the western way of life and cultural thought, and the phenomenon and reasons of the two cultures finally merging together. The cultural evolution process in the process of Turkish modernization is analyzed, and the conclusion is drawn that the reason for the evolution of cultural conflict lies in the contradiction between tradition and modernity, and ultimately depends on the development of productive forces.
【学位授予单位】：湖南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I374.074
【参考文献】
中国期刊全文数据库 前10条
1 刘岩;;从帕慕克获奖再看诺贝尔文学奖评选标准[J];四川外语学院学报;2007年05期
2 陆建德;;意识形态的颜色——评《我的名字叫红》(上)[J];书城;2007年05期
3 何晓娟;;魔宫般的叙事艺术——《我的名字叫红》叙事浅析[J];思想战线;2010年S1期
4 何山石;;“失明”与“黑白民间”——帕慕克的视觉策略对当代视觉美学的启示[J];武汉理工大学学报(社会科学版);2011年05期
5 李卫华;;文化冲突与文化杂合:《我的名字叫红》中的情节结构隐喻[J];外国文学研究;2008年01期
6 张红秋;;“红”与“黑”——读《我的名字叫红》及其它[J];文学界(理论版);2010年11期
7 马玉琛;;从福克纳到帕慕克——现代小说对叙述人的选择及叙述技巧的演进[J];小说评论;2007年03期
8 杨克力;陈金;;浅谈小说《我的名字叫红》中的文化冲突[J];中国校外教育(理论);2008年07期
9 王振军;;《我的名字叫红》:一部知识型百科全书式的小说[J];新乡学院学报(社会科学版);2009年04期
10 冯茜;林晓雯;;“与读者成为同谋”——论《我的名字叫红》的第一人称叙事系统[J];徐州师范大学学报(哲学社会科学版);2011年06期
本文编号：2356476
本文链接：https://www.wllwen.com/wenyilunwen/wxchuangz/2356476.html
