灾变的寓言：德里罗《坠落的人》中的叙事性与存在
发布时间：2018-08-16 15:24
【摘要】：《坠落的人》是唐·德里罗在后9·11时代对恐怖主义的一次深刻反思。该小说不单是德里罗对恐怖主义话题的再现,更是借以后现代之灾难对人类存在的一次本体论探讨。本文拟对《坠落的人》进行一次海德格尔式解读。借助于海德格尔的本体论和美学观,辅以利科对叙事性的研究,该论文旨在探索德里罗这本后9·11小说中的叙事性和存在,即如何叙事出此在的本真存在与自我。在利科对于叙事性的研究中,他认为所有的叙事性都是依赖时间而建立的;而海德格尔的存有论也是以时间作为存在的基础。因此,本文对叙事性和存在的讨论也将建立于对时间性的探讨之上。本论文的主体包括两个方面,一方面将探讨个体的叙事性,另一方面则将探讨艺术的叙事性。第一方面对个体叙事的探讨主要借用的是创伤理论,正如灾难与创伤的双生性决定了幸存者的存在必定要经由叙事。因此,借助于拉卡普拉和弗洛伊德的创伤研究,创伤下的个体叙事性首先分为了抑郁叙事和哀悼叙事。由于抑郁叙事根植于过去,现在沦落为过去的强迫性重复的再演。哀悼叙事才有能力摆脱过去,重塑存在者。倘若将创伤视为存在的一个隐喻,《坠落的人》中的创伤者沉湎于过去便是一种由抑郁叙事所致的此在之被抛状态。海德格尔认为此在所依赖的正是一种社会文化的语境,而后现代的社会文化语境则是一个叙事环,牢牢套住了此在于一种非本真的存在之中,亦如抑郁叙事将创伤者抛于过去一般。德里罗所批判的社会文化便是一种由科技的贫瘠、意识形态的元叙事和消费主义所建构的后现代认知。在其叙事环中,个体对于灾难和创伤的认知是经意识形态建构的,他们为历史、教育和媒体的建构主义所赋予的创伤者之政治身份迷惑,从而忽视了其本真存在和自我。因而,叙事环内只存在抑郁叙事,哀悼则是政治之禁忌。德里罗对《坠落的人》的循环叙事结构也反映了个体叙事的无效性。因此,此在的抑郁便是非本真存在和自我缺失的叙事性表达。由于叙事环让个体叙事完全失效,其本真存在与自我便成了一种妄想。但德里罗在《坠落的人》中内置的艺术却有着一种弥赛亚式救赎之可能。因此,本文的第二大部分便对德里罗文本中的艺术叙事性进行存有论式探讨。利科将叙事主要分成两类,一种是述事,另一种是戏剧叙事。在《坠落的人》中述事主要包括有话语叙事和画语叙事。然而这两种述事根本上还是一种抑郁叙事。在文本中,话语叙事主要表现为诗歌和一般话语,但这种述事缺乏海德格尔所谓的"诗性"和"灵性",因而无法在叙事废墟中重构诗意的栖所。而画语叙事,即对莫兰蒂静物写生的艺格敷词,更是受到了意识形态的蚕食与消费主义的荼毒,画也因而堕落为消费品而非海德格尔意义上的艺术品。因此,对于本真存在的去蔽和自我的揭示只能经由坠落的人的行为艺术来完成。丽昂与坠落的人的三次相遇如同幕间剧,他的冒险一跃成就是一种戏剧叙事,而这种戏剧叙事则组成了一场文本内的哀悼剧。借鉴本雅明对哀悼剧的研究,本论文认为《坠落的人》中行为艺术家的戏剧叙事正是一种哀悼剧的艺术。这种真正艺术的叙事性不仅超越了叙事环,它本身还是一种哀悼叙事。坠落的人的戏剧叙事不仅走出了创伤,还对此在本真存在和自我进行了去蔽。德里罗通过《坠落的人》中艺术的叙事性将小说化为一种艺术寓言,从而揭示了真正艺术对于此在本真存在和自我的救赎。
[Abstract]:"Falling Man" is a profound reflection on terrorism by Don Delillo in the post-9/11 era. This novel is not only Delillo's reappearance of the topic of terrorism, but also an ontological exploration of human existence through the disaster of post-modern times. This paper intends to make a Heidegger-style interpretation of "Falling Man". The thesis aims at exploring the narrative and existence in Dererot's later 9/11 novels, that is, how to narrate the real existence and the self of being. Therefore, the discussion of narrativeness and existence in this paper will also be based on the discussion of timeliness. The main body of this paper includes two aspects: one is to explore the narrativeness of individuals, the other is to explore the narrativeness of art. Trauma theory, just as the twin nature of disaster and trauma determines that survivors must exist through narrative. Therefore, with the help of Lakapra and Freud's trauma studies, Individual Narrative under trauma is divided into depressive narrative and mournful narrative. Mourning narrative is the ability to get rid of the past and reshape the existence. If trauma is regarded as a metaphor of existence, the traumatist's indulgence in the past is a state of being thrown away by depressed narrative. Heidegger believes that this is based on a social and cultural context, and the post-modern society. The cultural context is a narrative ring, which is firmly held in a kind of non-real existence, as depressed narrative throws the wounded into the past. The social culture criticized by Dererot is a kind of post-modern cognition constructed by the barren science and technology, ideological meta-narrative and consumerism. Cognition of disaster and trauma is ideologically constructed. They confuse the political identity of the wounded given by the constructivism of history, education and media, thus ignoring their true existence and self. Constructions also reflect the ineffectiveness of individual narratives. Therefore, the depression of Being is the narrative expression of non-real existence and self-absence. Because narrative rings completely invalidate individual narratives, their true existence and self become a delusion. But Delillo's art in The Falling Man has a possibility of Messianic redemption. The second part of this paper is an existential discussion of the artistic narratives in Delillo's text. Rico divides narratives into two main categories, one is narrative, the other is dramatic narrative. In Falling Man, narratives mainly include discourse narrative and pictorial narrative. In the text, discourse narrative is mainly expressed in poetry and general discourse, but this kind of narrative lacks Heidegger's so-called "poetic" and "spiritual" so that it can not reconstruct poetic habitat in the narrative ruins. Therefore, the deconstruction and self-disclosure of the real being can only be accomplished through the behavioral art of the fallen man. The three encounters between Leon and the fallen man are like a curtain play. His leap of adventure is a kind of dramatic narrative, and this kind of dramatic narrative constitutes a kind of dramatic narrative. Drawing lessons from Benjamin's study of mourning drama, this paper holds that the dramatic narrative of the behavioral artist in The Falling Man is just the art of mourning drama. The narrative of this real art is not only beyond the narrative ring, but also a kind of mourning narrative itself. The dramatic narrative of the falling man is not only out of the trauma, but also right. Delillo transforms the novel into an artistic fable through the narrative of art in Falling Man, thus revealing the true art's redemption of this real being and self.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.074
[Abstract]:"Falling Man" is a profound reflection on terrorism by Don Delillo in the post-9/11 era. This novel is not only Delillo's reappearance of the topic of terrorism, but also an ontological exploration of human existence through the disaster of post-modern times. This paper intends to make a Heidegger-style interpretation of "Falling Man". The thesis aims at exploring the narrative and existence in Dererot's later 9/11 novels, that is, how to narrate the real existence and the self of being. Therefore, the discussion of narrativeness and existence in this paper will also be based on the discussion of timeliness. The main body of this paper includes two aspects: one is to explore the narrativeness of individuals, the other is to explore the narrativeness of art. Trauma theory, just as the twin nature of disaster and trauma determines that survivors must exist through narrative. Therefore, with the help of Lakapra and Freud's trauma studies, Individual Narrative under trauma is divided into depressive narrative and mournful narrative. Mourning narrative is the ability to get rid of the past and reshape the existence. If trauma is regarded as a metaphor of existence, the traumatist's indulgence in the past is a state of being thrown away by depressed narrative. Heidegger believes that this is based on a social and cultural context, and the post-modern society. The cultural context is a narrative ring, which is firmly held in a kind of non-real existence, as depressed narrative throws the wounded into the past. The social culture criticized by Dererot is a kind of post-modern cognition constructed by the barren science and technology, ideological meta-narrative and consumerism. Cognition of disaster and trauma is ideologically constructed. They confuse the political identity of the wounded given by the constructivism of history, education and media, thus ignoring their true existence and self. Constructions also reflect the ineffectiveness of individual narratives. Therefore, the depression of Being is the narrative expression of non-real existence and self-absence. Because narrative rings completely invalidate individual narratives, their true existence and self become a delusion. But Delillo's art in The Falling Man has a possibility of Messianic redemption. The second part of this paper is an existential discussion of the artistic narratives in Delillo's text. Rico divides narratives into two main categories, one is narrative, the other is dramatic narrative. In Falling Man, narratives mainly include discourse narrative and pictorial narrative. In the text, discourse narrative is mainly expressed in poetry and general discourse, but this kind of narrative lacks Heidegger's so-called "poetic" and "spiritual" so that it can not reconstruct poetic habitat in the narrative ruins. Therefore, the deconstruction and self-disclosure of the real being can only be accomplished through the behavioral art of the fallen man. The three encounters between Leon and the fallen man are like a curtain play. His leap of adventure is a kind of dramatic narrative, and this kind of dramatic narrative constitutes a kind of dramatic narrative. Drawing lessons from Benjamin's study of mourning drama, this paper holds that the dramatic narrative of the behavioral artist in The Falling Man is just the art of mourning drama. The narrative of this real art is not only beyond the narrative ring, but also a kind of mourning narrative itself. The dramatic narrative of the falling man is not only out of the trauma, but also right. Delillo transforms the novel into an artistic fable through the narrative of art in Falling Man, thus revealing the true art's redemption of this real being and self.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.074
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