时间之狱与艺术之钥—纳博科夫自传研究
发布时间：2018-07-24 15:51
【摘要】：弗拉基米尔·纳博科夫,20世纪最伟大的作家之一,他是现代主义大潮中堪与卡夫卡、普鲁斯特、乔伊斯并肩的极具个人创作风格的大师。他的成名作《洛丽塔》、《微暗的火》、《阿达》都体现了其创作观念和形式上的独特性,除此之外,他的自传《说吧,记忆》也因其写作的艺术性广受好评。《说吧,记忆》一反传统自传形式上的线性叙事模式和内容上的写实性,用“主题”来结构文本,用拼贴的方式组织自己的个人历史,用艺术化的手段建构了一个超越化的艺术家形象。由此可以看出,艺术性是《说吧,记忆》的主要特点。本文即是以艺术性为切入点,同时联系纳博科夫整体创作,探究《说吧,记忆》这一自传文本关于自我和记忆的艺术化写作所具有的意义。论文主要从以下几个方面展开:导论部分,首先分析了纳博科夫自传与他的整体创作的关系,以及他的自传写作与现代自传的关系;其次,在综合国内外研究的基础上,提出本论文的论点和写作思路。第一章主要分析纳博科夫艺术化的真实观和文本建构模式。与传统自传对“真实”的强调不同,纳博科夫公然用拼贴和虚构的技法组织个人历史,这种艺术化的真实观体现了纳博科夫认知上的超前意识,即真实具有建构性。同时也体现了他自传写作动因的独特性:不是要召回过去,而是要超越过去。基于这样的观念,《说吧,记忆》在具体的文本呈现上就具有有别于传统自传的创新性,这主要表现在他对修辞,具体说也就是隐喻的运用。隐喻作为一种修辞手段,在自传文本里得到了创造性的运用,不仅被纳博科夫用来作为串联文本的内在线索,同时也是其指涉自我形象的手段,在此,文本创作的形式也成为作者个性的代表。第二章主要探讨纳博科夫艺术化自我形象所具有的典范性和永恒性。首先,从表现自我个性方面来说,传统的自我都是在与意识形态的依附或对抗中体现自我独特性的,这一定位或带有一种等级上的优越感,或容易在对抗中走向虚无。艺术化的自我定位则超越了这种局限性,在与大众的联合中实现了自我定位的平等性和自由意识。艺术化自我所具有的永恒价值体现在他对艺术所具有的超越性价值的认知,意识或者说艺术想象,沟通了此岸彼岸二元对立的关系,使得自我的现世超越具有了一定的合理性和可能性。第三章关注的是其自传的艺术化写作与读者的关系问题。不同于传统自传与读者形成的契约式关系,这是一种单维的“讲述——聆听”关系模式。艺术化的写作方式具有认知和审美上的双重功能,它使得创作者无需在内容上用暴露自我隐私的方式迎合公众的恶趣味,而是以其创作本身吸引读者,并在此基础上建立一种双向的对话关系。除此之外,《说吧,记忆》对情感的抒发凸显了自传这一文类的情感维度,正是在这种共情性体验中,自传与它的读者走向了最亲密的联合。结语部分则分析了这一艺术性书写的来由及对现代自传的启示。
[Abstract]:Vladimir Nabokov, one of the greatest writers of the twentieth Century, was a great master of personal creative style in the modernist tide with Kafka, Proust, and Joyce. His fame as < Lolita >, < dim fire > and ADA > all reflected his creative ideas and forms of uniqueness, in addition to his autobiography. Let's say, memory is also widely praised for its artistic character. "Let's say, memory > a linear narrative pattern and realism in the form of an anti traditional autobiography, structure of text with" theme ", a collage of individual history, and an artistic image of an artist. Art is the main feature of "say, the memory >". This article is based on the art as the breakthrough point, at the same time linking Nabokov with the whole creation, exploring the significance of the artistic writing of self and memory in this autobiography text. The thesis is mainly carried out from the following aspects: introduction, first of all, analysis of Nabokov The relationship between autobiography and his holistic creation, and the relationship between his autobiography and modern autobiography; secondly, on the basis of a comprehensive study at home and abroad, the thesis puts forward the arguments and writing ideas. The first chapter mainly analyzes the true view of Nabokov's art and the model of text construction. CoV openly uses collage and fictitious techniques to organize individual history, which embodies the transcendental consciousness of Nabokov's cognition, that is, authenticity and constructiveness. It also embodies the uniqueness of his autobiographical writing motivation: not to recall the past but to transcend the past. Based on this idea, "say, memory > in concrete" As a rhetorical means, metaphor is used as a rhetorical device in the autobiographical text, which is not only used by Nabokov as the inner clue of the serial text, but also the self image involved in the text. In this way, the form of text creation also becomes the representative of the author's personality. The second chapter mainly discusses the exemplary and eternity of Nabokov's artistic self image. First, from the aspect of self individuality, the traditional self embodies self characteristic in the attachment or confrontation with ideology, this position or There is a sense of superiority in a class, or easy to go to nothingness in confrontation. The artistic self orientation transcends this limitation and realizes the equality and freedom of self orientation in the union with the masses. The eternal value of the artistic self embodies in his understanding of the transcendental value of art, consciousness or The art imagination, communicating the relationship between the two opposing sides of the shore, makes the transcendence of the self present a certain rationality and possibility. The third chapter is concerned with the relationship between his autobiographical art writing and the reader. It is different from the contractual relationship between the traditional autobiography and the reader. This is a single dimension of "telling". "Relationship mode. The artistic style of writing has both cognitive and aesthetic functions. It makes the creator do not have to cater to the public's evil interest in the way of exposing himself and privacy in the content, but to attract the readers by its creation, and to establish a two-way dialogue on this basis. In addition, < say, remember > emotion. The expression highlights the emotional dimension of this kind of autobiography, and it is in this empathy experience that autobiography and its readers have moved towards the most intimate union. The conclusion part analyzes the origin of this artistic writing and the enlightenment to the modern autobiography.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.074
[Abstract]:Vladimir Nabokov, one of the greatest writers of the twentieth Century, was a great master of personal creative style in the modernist tide with Kafka, Proust, and Joyce. His fame as < Lolita >, < dim fire > and ADA > all reflected his creative ideas and forms of uniqueness, in addition to his autobiography. Let's say, memory is also widely praised for its artistic character. "Let's say, memory > a linear narrative pattern and realism in the form of an anti traditional autobiography, structure of text with" theme ", a collage of individual history, and an artistic image of an artist. Art is the main feature of "say, the memory >". This article is based on the art as the breakthrough point, at the same time linking Nabokov with the whole creation, exploring the significance of the artistic writing of self and memory in this autobiography text. The thesis is mainly carried out from the following aspects: introduction, first of all, analysis of Nabokov The relationship between autobiography and his holistic creation, and the relationship between his autobiography and modern autobiography; secondly, on the basis of a comprehensive study at home and abroad, the thesis puts forward the arguments and writing ideas. The first chapter mainly analyzes the true view of Nabokov's art and the model of text construction. CoV openly uses collage and fictitious techniques to organize individual history, which embodies the transcendental consciousness of Nabokov's cognition, that is, authenticity and constructiveness. It also embodies the uniqueness of his autobiographical writing motivation: not to recall the past but to transcend the past. Based on this idea, "say, memory > in concrete" As a rhetorical means, metaphor is used as a rhetorical device in the autobiographical text, which is not only used by Nabokov as the inner clue of the serial text, but also the self image involved in the text. In this way, the form of text creation also becomes the representative of the author's personality. The second chapter mainly discusses the exemplary and eternity of Nabokov's artistic self image. First, from the aspect of self individuality, the traditional self embodies self characteristic in the attachment or confrontation with ideology, this position or There is a sense of superiority in a class, or easy to go to nothingness in confrontation. The artistic self orientation transcends this limitation and realizes the equality and freedom of self orientation in the union with the masses. The eternal value of the artistic self embodies in his understanding of the transcendental value of art, consciousness or The art imagination, communicating the relationship between the two opposing sides of the shore, makes the transcendence of the self present a certain rationality and possibility. The third chapter is concerned with the relationship between his autobiographical art writing and the reader. It is different from the contractual relationship between the traditional autobiography and the reader. This is a single dimension of "telling". "Relationship mode. The artistic style of writing has both cognitive and aesthetic functions. It makes the creator do not have to cater to the public's evil interest in the way of exposing himself and privacy in the content, but to attract the readers by its creation, and to establish a two-way dialogue on this basis. In addition, < say, remember > emotion. The expression highlights the emotional dimension of this kind of autobiography, and it is in this empathy experience that autobiography and its readers have moved towards the most intimate union. The conclusion part analyzes the origin of this artistic writing and the enlightenment to the modern autobiography.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.074
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