迷失在威尼斯：霍夫曼斯塔尔小说《安德利亚斯》中的空间隐喻与主体危机
发布时间：2018-08-01 12:46
【摘要】：《安德利亚斯》是维也纳现代派中最重要的文学代表——胡戈·冯·霍夫曼斯塔尔存世的唯一一部长篇小说。小说以断篇的形式,采用德国传统成长发展小说的模式,以主人公旅行的目的地威尼斯为叙述起点,记述了主人公对自己游历过程的回忆,以及在踏上威尼斯之后的迷失经历。小说在叙事中加入了现代小说的叙事手法,想象、梦境、回忆和内心独白交织,打破了现实与梦境、内在与外在的界限,体现出了世纪之交德语作家由客体转向主体,由外在环境转向内心世界的美学旨趣。无论是结构(离家踏上漫游历程)还是主题(青年人找寻自我、探寻世界的过程),小说都与传统成长发展小说存在着相似性。然而,霍夫曼斯塔尔的小说成书于20世纪初,不同于18世纪孕育了传统修养小说的启蒙时代,1900前后急剧现代化的发展使得世界呈现出复杂化、碎片化的特征,末世将临的悲观情绪取代了启蒙时期的进步乐观。个体在世纪末特有的危机体验中,内在的一致性也趋于瓦解和分裂。传统修养小说中给个体带来安全感的秩序已不复存在,个体只能通过充满迷惘和不安的心灵冒险寻求出路。小说中主人公游历过程中经历的几次空间转换,一方面代表了其找寻自我、克服主体危机过程中的几个时间节点;另一方面,也以其各自的空间架构特征,对主人公不同状态下的内心境况构成了隐喻。安德利亚斯出身维也纳没落贵族家庭,对家庭环境的描写虽然只通过主人公的内心回溯展现,并未直接出现在小说的前景中,但家庭中情感缺失和"双重道德"标准下的相处模式使得主人公并未能建立健全的自我。与之形成鲜明对照的是主人公游历路途中的第一站：小山城克恩滕中的乡绅费南泽一家。与维也纳城市市民家庭不同的是,克恩滕民风淳朴,秩序井然,呈现出了一幅乌托邦式的田园美景。但主人公在其中却一直深陷分裂状态,时刻饱受主体危机的侵袭。主人公徘徊在对房东女儿罗曼娜的精神之爱与肉体欲望之间,而他对空间的感知则构成了对其内心分裂状态的隐喻:每当安得利亚斯深陷这一矛盾分裂的状态时,在他感知下的空间便会呈现出强烈的"明暗对照"(Hell-Dunkel-Kontrast),这一犹如绘画中明暗分界线的空间架构,无疑象征了主人公内心不可调和的分裂状态。这一分裂状态同时也体现在主人公与仆人戈特赫尔夫的关系上:仆人戈特赫尔夫的形象不仅仅是引诱安德里亚斯误入歧途的"引诱者",更隐喻着主人公内心分裂出的"另一个我"(alterego)。文中不止一次暗示仆人对安德里亚斯产生的难以名状的吸引力,甚至在安德里亚斯的梦境中,罗曼娜还错将安德里亚斯当成了戈特赫尔夫。而当戈特赫尔夫偷盗了费南泽家的财物和马匹逃走之后,主人公也不得不离开克恩滕。这里的象征意义是显而易见的:戈特赫尔夫的罪行象征着安德里亚斯内心压抑的阴暗面的反扑,他的这一罪行使其被驱逐出了伊甸园般的克恩滕。如果说家庭环境是其主体危机的萌生温床,那么在克恩滕的尝试融入秩序却被迫离开的经历,则是其第二次尝试建构自我的失败。在离开克恩滕的路上,安德里亚斯在一处壮美的自然风景面前感受到了无与伦比的幸福愉悦:尤其是当一只雄鹰飞过,俯瞰大地时,主人公更是在幻觉中与鹰融为一体。安得利亚斯对鹰所具有的"全景式"(Panorama)视角的向往,展现出了其渴望通过万物交融的瞬间消除内心二元对立、克服分裂危机的尝试。这一瞬间的描摹展现出了霍夫曼斯塔尔特有的"瞬间体验"的诗学观,即主体在瞬间中获得的与自然万有合一的审美快感。然而,与传统浪漫派在自然中寻求最终和谐的尝试不同,这一美妙瞬间只是主人公分裂不安的精神状态中的偶然例外,它只有在个体的幻觉和想象中才能实现。这说明,与自然的合二为一不再是世纪之交主体的稳定心态,而是突如其来的偶发(kontingent)事件。在这一短暂的美妙瞬间过后,小说叙事视角切换回到了开头的情节展开地威尼斯,与之前对自然风景"全景式"的描写截然不同,威尼斯的空间架构呈现出碎片式、异质化的特征,其空间描摹对于展现主人公内心状态具有多个层面的隐喻意义:首先,威尼斯是处于海洋与陆地、东方与西方之间的"跨界地带"(Schwellenort),其作为"跨界地带"的双重性特征,本身就是对处于分裂状态下的主人公的绝佳隐喻。此外,威尼斯在安德里亚斯的感知中呈现出迷宫般错乱纷繁的特点,主人公在迷宫般的威尼斯的行动如圆圈般循环往复,这也造成了安德里亚斯最终在威尼斯的迷失。传统成长小说中作为目的地的威尼斯,并未能使主人公实现自我与世界的和解,反而使其陷入了更深的迷乱与危机体验。
[Abstract]:"Andreas" is the most important literary representative of the modernist school of Vienna - the only novel of Hugo von Hofmannathal's existence. In the form of a broken text, the novel uses the model of German traditional growth and development novels, and takes the destination of the hero's travel as the starting point in Venice, and describes the hero's travels to himself. The recollection of Cheng, and the lost experience after stepping on to Venice, has joined the narrative techniques of modern novels, imagination, dreams, memories and inner monologue, breaking the boundaries between reality and dreams, inner and external, reflecting the turn of the German language from the object to the subject from the external environment to the inner world. The aesthetic purport of the novel is similar to the traditional growth and development novels, whether it is structure (leaving home on roaming course) or the theme (young people search for themselves and seek the process of the world). However, Hofmannathal's novel became a book in the early twentieth Century, which was different from the age of enlightenment in the traditional culture novels in eighteenth Century. 1900 The development of modern drama makes the world appear complex and fragmented, and the pessimistic mood of the last world will replace the progressive optimism of the enlightenment. In the endemic crisis experience of the end of the century, the internal consistency tends to disintegrate and split. The order of security in the traditional culture novel has gone away, the individual is gone. It can only seek a way out through the perplexed and unsettling Adventures of the mind. In the novel, the space transformation that the hero travels during the journey represents the time nodes in the process of finding themselves and overcoming the time nodes in the course of the main crisis; on the other hand, the inner circumstances of the protagonists in different states are also characterized by their respective spatial frames. As a metaphor, Andreas came out of the family of nobility in Vienna. The description of the family environment, though only through the backtracking of the hero, did not directly appear in the future of the novel, but the relationship between the emotional lack of the family and the "double moral" standard made the protagonist fail to establish a sound self. Distinct contrast is the first stop on the journey of the hero's journey: the gentry, the gentry, a family of the gentry in the small mountain city. Unlike the urban residents of Vienna, kengtenman has a simple and unsophisticated wind and a utopian pastoral view. The protagonist wandered between the spiritual love and physical desire of the landlord's daughter, Luo Mena, and his perception of space constituted a metaphor for the split state of his heart: when anddelas was deeply trapped in this state of contradiction, the space in which he felt was strong "Hell-Dunkel-Kont." RAST), the spatial structure, like the demarcation of the bright and dark lines in the painting, undoubtedly symbolizes the irreconcilable division of the protagonist's heart. This split state is also reflected in the relationship between the hero and servant Geert Herff: the image of the servant Geert horf is not only a "inducer" to lure Andreas astray, but also a metaphor. The "alterego", divided by the hero's heart, has more than one hint of the indescribable appeal of the servant to Andreas, and even in Andreas's dream, roo Mena mistook Andreas for the gorge. Then the hero has to leave Kenen. The symbolic meaning is obvious: the guilt of got Hulf symbolizes the backlash of the dark side of Andreas's heart, and his guilt is expelled from the Eden like Kenen. The experience of erten's attempt to be forced to leave in order is his second attempt to construct himself. On the way to leave Cynten, Andreas feels the unparalleled happiness in the presence of a magnificent natural landscape, especially when an eagle overlooks the earth, and the hero is in the hallucination and the eagle. Andelas's longing for the "Panorama" view of the eagle unfolds an attempt to eliminate the two yuan antagonism and overcome the split crisis through the moment of blending of all things. This moment shows the poetic view of Hoffman's "instant experience", that is, the subject obtains in the moment. However, unlike the attempt of the traditional romantics to seek final harmony in nature, this wonderful moment is only an accidental exception in the spirit state of the protagonist's disintegration. It can only be realized in the illusion and imagination of the individual. It is said that the combination of nature and nature is no longer the turn of the century. The steady state of mind of the subject is a sudden kontingent event. After this short and wonderful moment, the novel narrative angle of view switches back to the beginning of the plot of Venice, completely different from the previous description of the "panoramic view" of natural scenery, and the spatial structure of Venice is fragmented, heterogeneous and empty. To describe the metaphorical meaning of the heroine's inner state, Venice is a "transboundary zone" between the sea and the land and between the East and the West. As a double character of the "transboundary zone", Venice itself is an excellent metaphor for the protagonist in a split state. In addition, Venice is in security. Delhi's perception is a labyrinthine feature, and the hero's labyrinth of Venice acts as a circle, which also leads to Andreas's loss in Venice. The Venice in the traditional growth novel, as the destination, has failed to make the hero reconcile himself with the world. It was plunged into a deeper confusion and crisis experience.
【学位授予单位】：北京外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I521.074
本文编号：2157627
[Abstract]:"Andreas" is the most important literary representative of the modernist school of Vienna - the only novel of Hugo von Hofmannathal's existence. In the form of a broken text, the novel uses the model of German traditional growth and development novels, and takes the destination of the hero's travel as the starting point in Venice, and describes the hero's travels to himself. The recollection of Cheng, and the lost experience after stepping on to Venice, has joined the narrative techniques of modern novels, imagination, dreams, memories and inner monologue, breaking the boundaries between reality and dreams, inner and external, reflecting the turn of the German language from the object to the subject from the external environment to the inner world. The aesthetic purport of the novel is similar to the traditional growth and development novels, whether it is structure (leaving home on roaming course) or the theme (young people search for themselves and seek the process of the world). However, Hofmannathal's novel became a book in the early twentieth Century, which was different from the age of enlightenment in the traditional culture novels in eighteenth Century. 1900 The development of modern drama makes the world appear complex and fragmented, and the pessimistic mood of the last world will replace the progressive optimism of the enlightenment. In the endemic crisis experience of the end of the century, the internal consistency tends to disintegrate and split. The order of security in the traditional culture novel has gone away, the individual is gone. It can only seek a way out through the perplexed and unsettling Adventures of the mind. In the novel, the space transformation that the hero travels during the journey represents the time nodes in the process of finding themselves and overcoming the time nodes in the course of the main crisis; on the other hand, the inner circumstances of the protagonists in different states are also characterized by their respective spatial frames. As a metaphor, Andreas came out of the family of nobility in Vienna. The description of the family environment, though only through the backtracking of the hero, did not directly appear in the future of the novel, but the relationship between the emotional lack of the family and the "double moral" standard made the protagonist fail to establish a sound self. Distinct contrast is the first stop on the journey of the hero's journey: the gentry, the gentry, a family of the gentry in the small mountain city. Unlike the urban residents of Vienna, kengtenman has a simple and unsophisticated wind and a utopian pastoral view. The protagonist wandered between the spiritual love and physical desire of the landlord's daughter, Luo Mena, and his perception of space constituted a metaphor for the split state of his heart: when anddelas was deeply trapped in this state of contradiction, the space in which he felt was strong "Hell-Dunkel-Kont." RAST), the spatial structure, like the demarcation of the bright and dark lines in the painting, undoubtedly symbolizes the irreconcilable division of the protagonist's heart. This split state is also reflected in the relationship between the hero and servant Geert Herff: the image of the servant Geert horf is not only a "inducer" to lure Andreas astray, but also a metaphor. The "alterego", divided by the hero's heart, has more than one hint of the indescribable appeal of the servant to Andreas, and even in Andreas's dream, roo Mena mistook Andreas for the gorge. Then the hero has to leave Kenen. The symbolic meaning is obvious: the guilt of got Hulf symbolizes the backlash of the dark side of Andreas's heart, and his guilt is expelled from the Eden like Kenen. The experience of erten's attempt to be forced to leave in order is his second attempt to construct himself. On the way to leave Cynten, Andreas feels the unparalleled happiness in the presence of a magnificent natural landscape, especially when an eagle overlooks the earth, and the hero is in the hallucination and the eagle. Andelas's longing for the "Panorama" view of the eagle unfolds an attempt to eliminate the two yuan antagonism and overcome the split crisis through the moment of blending of all things. This moment shows the poetic view of Hoffman's "instant experience", that is, the subject obtains in the moment. However, unlike the attempt of the traditional romantics to seek final harmony in nature, this wonderful moment is only an accidental exception in the spirit state of the protagonist's disintegration. It can only be realized in the illusion and imagination of the individual. It is said that the combination of nature and nature is no longer the turn of the century. The steady state of mind of the subject is a sudden kontingent event. After this short and wonderful moment, the novel narrative angle of view switches back to the beginning of the plot of Venice, completely different from the previous description of the "panoramic view" of natural scenery, and the spatial structure of Venice is fragmented, heterogeneous and empty. To describe the metaphorical meaning of the heroine's inner state, Venice is a "transboundary zone" between the sea and the land and between the East and the West. As a double character of the "transboundary zone", Venice itself is an excellent metaphor for the protagonist in a split state. In addition, Venice is in security. Delhi's perception is a labyrinthine feature, and the hero's labyrinth of Venice acts as a circle, which also leads to Andreas's loss in Venice. The Venice in the traditional growth novel, as the destination, has failed to make the hero reconcile himself with the world. It was plunged into a deeper confusion and crisis experience.
【学位授予单位】：北京外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I521.074
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