巴尔扎克作品的象征美学向度

发布时间：2018-02-02 01:45

本文关键词： 巴尔扎克象征象征主义美学象征修辞学洞观者　出处：《北京外国语大学》2013年博士论文　论文类型：学位论文

【摘要】：巴尔扎克是中国读者最为熟悉的外国文学大师之一。在他身后,人们对其作品的研究和批评从未间断,对于其作品流派归属历来众说纷纭。传统的主流批评认为他是现实主义的,抑或是批判现实主义的,这主要因为他以“典型环境下塑造典型人物”这一被现实主义奉为圭臬的手法去描写现实、揭露社会矛盾并声称自己是法国社会的“秘书”。然而,西方很多评论家把他与后来的福楼拜、左拉、莫泊桑相区别,列入浪漫主义作家的队伍,或是具有浪漫色彩的写实作家。巴尔扎克作品的基调是写实的,但他的写实并非复制和记录。他描写现实,但更看重本质上的“真实”。观察是其作为小说家的杰出能力,但这并非他的主要优点,更不是他的全部能力。他相信思想具有物质存在形态,不同世界之间存在应和关系,力图通过象征意涵从可知的表面现象去揭示隐秘的、不可知的社会本质。这一思想正是后来的象征主义文学思潮的基本内涵。他是观察家,更是洞观者,但同时代的评论家们并未注意到这一点。直到1859年,象征主义先驱诗人波德莱尔看到了巴尔扎克“洞观者”的价值,并在《论泰奥菲尔·戈蒂耶》中作出了相应的评价。不过,这一“发现”长期以来并未影响西方主流批评的视线,现实主义的标签依然牢固地贴在巴尔扎克身上。直到20世纪40年代,才相继有贝古安、毕贡、巴贝利斯等批评家重新挖掘这一话题。在中国,关于巴尔扎克是观察者还是洞观者的话题最早由郭宏安提出。此后,沈大力、田庆生等人先后论及巴氏作品中的象征美学色彩。虽然巴尔扎克创作总体上并不属于象征主义,更与19世纪80年代的法国象征主义文学运动无涉,但本文试图从象征主义美学思想和象征修辞学视角研究其作品,发掘其中超越时代的丰富内涵和文学现代性。本文共分五章：第一章：重读一个完整的巴尔扎克。主要梳理我国对巴尔扎克译介、传播和评论的线索,提出研究这个话题的现实意义；第二章：象征与象征主义文学。主要从象征概念的理论建构着手,阐述象征主义美学思想和修辞学特点,特别是挖掘巴尔扎克对波德莱尔象征美学思想形成的影响；第三章：巴尔扎克作品的象征体系。笔者并不着力研究作家某部具体作品,而是把《人间戏剧》作为一个整体来探究其象征美学体系,因为它是作者“统一论”思想的实践,各部作品环环相扣,是作者“写出思想的物质表现”的有机整体。他所表现的社会真实,哲性成分要远超过史实价值；第四章：巴尔扎克作品中的神话象征。《人间戏剧》的作者视神话为象征的“语言”,神话是现实世界与鬼魅世界的触点。在以《驴皮记》为代表的“哲理研究”部分的“奇幻小说”中他以神话象征揭示被隐藏的人类命运的“真实”；第五章,巴尔扎克象征美学思想来源。本章从巴尔扎克接受斯威登堡、傅立叶、拉瓦特、圣伊莱尔等人的思想以及在创作中的影响出发,分析形成巴尔扎克象征美学思想的主要理论渊源。巴尔扎克是一位思想深邃而复杂的作家。诚然,我们不能否认其作品的写实性基调,但如果只以“现实主义”或“批判现实主义”的标签简单地概括这位巨匠,会减损我们对其作品文学性和现代性的理解。他对社会的观察超越了一般意义上的现实主义小说家。他不像常人那样以肉眼观察社会,而是以“精神的眼睛”逼近事物的本质。我们对他表现的社会真实,不仅要做历史的把握,更应该予以哲性和诗性的领悟。他在“普遍类似论”思想的烛照下寻求物质世界、精神世界和超验世界之间的“应和”,这与后来的象征主义文学在美学趣旨上有着某种契合。以象征主义美学思想和象征修辞学手段解读其作品加大了我们对巴尔扎克理解的深度和广度。
[Abstract]:Balzak is one of the most familiar foreign literary masters in Chinese readers . Behind him , people have never interrupted their research and criticism of their works . The traditional mainstream criticism holds that he is realistic or critical realism . However , many critics of the West regard him as the " secretary " of the French society . However , many Western critics have distinguished him from the later Fuyuan , Zuola and Moberth , including romantic writers , or a romantic writer . The tone of Balzak ' s work is realistic , but his writing is not copied and recorded . He describes the reality , but is more focused on " real " . It is not his major advantage , but it is not his full ability . He believes that the thought has the form of material existence , and it is not his full ability . However , this " discovery " has long had no effect on the line of sight of Western mainstream criticism , and realism ' s label is still firmly attached to Balzak . In China , the topic of Balzak , who is an observer or a hole , is rediscovered by Guo Hongan . After that , Mr . Shen , Tian Qingsheng et al . have successively commented on the symbolic aesthetics color in his works . Although Balzak ' s creation is not part of the symbolism , it is more closely related to the French symbolism literary movement in the 1980s , but this paper attempts to study his works from the perspective of symbolic aesthetics and symbolic rhetoric , and explore the rich connotation and literary modernity of the times . This thesis is divided into five chapters : Chapter One : Rereading a complete Barzak . This article mainly sorts out the clues about the translation , communication and comment of Balzak , and puts forward the practical significance of studying the topic . Chapter Three : The symbolic system of Balzak ' s works . Barzak is a profound and complicated writer . It is true that we cannot deny the realistic motif of his works , but if we simply summarize the giant ' s works with the label of " realism " or " critical realism " , he will lose our understanding of the literary and modernity of his works . He does not look at the society with the naked eye , but instead of " the eyes of the spirit " .

【学位授予单位】：北京外国语大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I565.074

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