论安部公房“都市系列三部曲”的“逃离”书写
发布时间：2018-10-23 09:18
【摘要】：安部公房所有文学作品的共同特征就是对“人”的观照,人与社会、人与他人、人与自身的关系始终是贯穿其文学生命的主线。在他早期的《墙》、《赤茧》、《棒》等作品中读者明显能够体验到一种“卡夫卡式的变形”。这些变形不论是出于主动的还是被动的,其实都旨在表明人已经处在了“异化”的状态中,始作俑者就是社会这个共同体。共同体以其权威凌驾于个人之上,生活在共同体下的人被迫接受它制定的游戏规则。一旦这个共同体发生病变,人也就处在了异化的边缘。人的自由张力会随着社会病变的程度而不断加强,社会的束缚越多,人对自由的追求也就越强烈。60年代则是安部公房创作的黄金期,在这期间诞生的三部作品——《砂女》、《他人的脸》、《燃烧的地图》表征着他对人的自由理念的透彻解读。因此安部的作品本质上就是一部人类追求自由的历史,他以“文学介入生活”的方式展现着他的人文主义情怀。安部公房把“逃离”作为三部曲的一个重点来书写,不仅因为“逃离”是三部曲的一个重要主题,同时也因为它是一种追求自由的手段,是一种带有“西西弗斯悲剧精神”的策略。在作者看来,逃离重在过程而不计较结果,这就是为什么三部曲的结尾具有模糊性的原因。在描写“逃离”的过程中安部公房以其前卫的写作风格营造了许多荒诞不经的场景,但荒诞并不是目的,它是一种手段。当这些荒诞的场景跟人物的悲喜命运交织在一起时,读者便会感受到强烈的审美愉悦。从小说人物的遭遇来看,他们大部分是不幸的,无论是终年困囿于沙穴,周而复始地干着清砂工作的砂女,掉入圈套的中年教师,失败的侦探,还是失去脸的科学家,他们都带着悲剧人物的气质。然而作者却又赋予了他们一种乐观的态度,实现了荒诞的转向,在超越中给读者一种崇高感。正如加缪所说“人们必须想象西西弗斯是快乐的”。
[Abstract]:The common feature of all Abe Kobo's literary works is the reflection of "man". The relationship between man and society, between man and others, and between man and himself is always the main line running through his literary life. In his early works, such as Wall, Cocoon, Rod, and so on, readers can clearly experience a "Kafka-like transformation." These transformations, whether active or passive, are designed to show that people have been in a state of alienation, the initiator of which is the community of society. The community, with its authority over the individual, was forced to accept the rules of the game. Once this community changes, people are on the verge of alienation. People's freedom tension will continue to strengthen with the degree of social lesion, the more the social constraints, the stronger people's pursuit of freedom. The 1960s was the prime time for Abe Kobo's creation. The three works born during this period "Sand woman", "face of others", "the Map of Burning" symbolize his thorough interpretation of the concept of human freedom. Therefore, his works are essentially a history of human pursuit of freedom, and he expresses his humanistic feelings in the way of "literary intervention in life". Abe Kobo wrote "escape" as an important part of the trilogy, not only because it was an important theme of the trilogy, but also because it was a means of pursuing freedom. It is a strategy with the spirit of Sisyphus tragedy. In the author's view, escaping from the process without regard to the outcome is why the end of the trilogy is vague. Abe Kobo created many absurd scenes in his avant-garde writing style in the process of describing "escape", but absurdity is not an end, it is a means. When these absurd scenes are intertwined with the tragic and happy fate of the characters, the reader will feel a strong aesthetic pleasure. Judging from the story of the characters, most of them are unfortunate, whether they are sand women trapped in sand holes all year round, middle-aged teachers who have fallen into trap, failed detectives, or scientists who have lost their faces. They all had the qualities of tragic characters. However, the author endows them with an optimistic attitude, realizes the absurd turn, and gives the reader a sense of sublime in transcendence. As Camus said, "one must imagine Sisyphus to be happy."
【学位授予单位】：喀什大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I313.074
本文编号：2288791
[Abstract]:The common feature of all Abe Kobo's literary works is the reflection of "man". The relationship between man and society, between man and others, and between man and himself is always the main line running through his literary life. In his early works, such as Wall, Cocoon, Rod, and so on, readers can clearly experience a "Kafka-like transformation." These transformations, whether active or passive, are designed to show that people have been in a state of alienation, the initiator of which is the community of society. The community, with its authority over the individual, was forced to accept the rules of the game. Once this community changes, people are on the verge of alienation. People's freedom tension will continue to strengthen with the degree of social lesion, the more the social constraints, the stronger people's pursuit of freedom. The 1960s was the prime time for Abe Kobo's creation. The three works born during this period "Sand woman", "face of others", "the Map of Burning" symbolize his thorough interpretation of the concept of human freedom. Therefore, his works are essentially a history of human pursuit of freedom, and he expresses his humanistic feelings in the way of "literary intervention in life". Abe Kobo wrote "escape" as an important part of the trilogy, not only because it was an important theme of the trilogy, but also because it was a means of pursuing freedom. It is a strategy with the spirit of Sisyphus tragedy. In the author's view, escaping from the process without regard to the outcome is why the end of the trilogy is vague. Abe Kobo created many absurd scenes in his avant-garde writing style in the process of describing "escape", but absurdity is not an end, it is a means. When these absurd scenes are intertwined with the tragic and happy fate of the characters, the reader will feel a strong aesthetic pleasure. Judging from the story of the characters, most of them are unfortunate, whether they are sand women trapped in sand holes all year round, middle-aged teachers who have fallen into trap, failed detectives, or scientists who have lost their faces. They all had the qualities of tragic characters. However, the author endows them with an optimistic attitude, realizes the absurd turn, and gives the reader a sense of sublime in transcendence. As Camus said, "one must imagine Sisyphus to be happy."
【学位授予单位】：喀什大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I313.074
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