【作者】 杨艳伶；

【导师】 彭岚嘉；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2012， 博士

【摘要】 作为一个用汉语写作的藏族作家,阿来注定要穿行于汉藏两种异质文化之间,也注定要在两种语言之间流浪,他可以用汉语进行会话和书写,但母语藏语仍然是他的口头语言。汉文化的博大精深赋予了作家细致缜密的思维与开阔开放的视野,他通过汉语从世界各国的优秀文化中汲取营养,将对故土尤其是嘉绒大地的叙写与思考放置在中国乃至整个人类发展的大格局中；而藏文化尤其是藏民族口耳传承的神话、部族传说、家族传说、人物故事及寓言,又为他提供了自由驰骋想象的空间及取之不尽、用之不竭的宝贵写作素材,这些丰富多彩的民族民间文化又使阿来的创作呈现出了别样的视角与形态。借用人类学中的“文化并置”命题,即把不同的文化及价值观并列后,人们方可从相辅相成或相反相成的对照中看出以往不易察觉的文化特色、成见或偏见。将阿来及其创作放置在新时期以来藏地汉语小说创作的大格局中进行研究,分析汉文化与藏文化对阿来的创作究竟产生了哪些影响,揭示汉藏文化碰撞和融合中的藏地社会面貌如何在阿来的创作中得以呈现,并阐述穿行于汉藏文化之间的作家从两种文化之间汲取了那些营养,且运用比较研究的方法将阿来与其他作家的创作进行比较分析,进而对其在藏族文学以及当代文学中的独特性和价值加以总结是一个值得研究的课题,也具有重要的意义和价值。本论文除了绪论和结语,共分为六章。绪论部分共分为三节,第一节先界定一个论文中所用到的重要概念,即论文中所指的“西藏”是一个文化概念而非行政区划概念。第二节对西藏当代汉语小说的发展状况进行简单的梳理和概括。第三节谈选题意义、课题相关的研究现状及论文的着眼点与写作思路。第一章“他观者”的想象,共有三节,第一节新时期以来汉族作家藏地小说热,第二节现代性／汉化的双重阻隔,第三节朝圣、追寻或反思的文化选择,对汉族作家马丽华、杨志军、马原以及范稳的藏域小说进行分析和论述。第二章“自观者”的言说,分为藏族作家的华丽转身、聆听母族文化的足音、现代性的多样化解读三节,综合论述藏族作家汉语小说创作的开创性意义和重要价值,并对央珍、梅卓、扎西达娃等藏族作家小说作品的文化内涵和精神追求进行重点阐述。第三章藏文化：阿来的创作之源,主要论述藏文化对阿来的濡化,从雪域文化的呈现、早期宗教及藏传佛教等方面论述藏文化对阿来的创作产生的深刻影响。第四章汉文化：嘉绒之子的追寻与守望,着重阐述汉文化对阿来的滋养与渗透,主要是从道家思想的渗透及汉族文学传统的延续和传承等方面阐释汉文化对阿来的重要影响。第五章从汉藏文化交融的角度论述阿来及其创作,包括“天人合一”、“缘起性空”观影响下的生态关怀和“仁”“众生平等”与和谐人际关系两节。第六章则重点阐述阿来小说的独特性,共分为四节,第一节西臧不再遥远、第二节传说就是现实、第三节别样的历史观、第四节魔幻化叙事,从作品思想蕴含、历史观以及叙事艺术等层面阐述阿来小说的独特之处,其中将对阿来与马原、扎西达娃、马丽华、杨志军等人的创作进行比较分析。结语将对阿来的意义以及他在藏族文学和当代中国文学中的地位进行概括和归纳。更多还原

【Abstract】 As a Tibetan writer in Chinese writing, Alai doomed to walk through the two heterogeneous cultures that is Chinese and Tibetan. He also doomed to wander between the two languages. Although Alai’s oral language is still the Tibetan, he can use Chinese to speak and write proficiently. The extensive and profound Chinese culture gives him the meticulous thinking and broad view. Alai absorbed rich nutrition from the excellent culture all over the world by means of Chinese. He placed the description and thinking of his homeland especially the Jia rung in the pattern of the whole human development. Meanwhile, the Tibetan culture including myth, tribal legends, family lore, character stories and fables provided him a free space of imagination and inexhaustible writing materials. In addition, Alai’s creation showed a different kind of view and form because of these rich and colorful folk culture. We can borrow the proposition called "cultural juxtaposition" in anthropology, that is, people can find out the cultural characteristics, prejudice or bias that are not detectable in the past from the complementary or opposite comparison. It is not only a subject worthy of study but also of great significance and value to do these research work, including place Alai’s creation in the pattern of the Tibetan Chinese novels since1980’s, analyze what impact has been exerted to his creation by the Chinese and Tibetan culture, reveal the presentation of the Tibetan social outlook as a result of cultural collision and fusion, describe the nutrition that Alai has absorbed from the two cultures, use the comparative study to analyze the creation of Alai and the other writers and summarize his uniqueness and value in the Tibetan literature and contemporary literature.The thesis divides into six chapters except the preface and the conclusion. The preface is divided into three sections. The first section clarifies an important concept used in the paper, that is, the concept referred that the Tibet is a cultural concept rather than a concept of administrative divisions. The second section carries on a simple combing and summary of the development of the Tibet contemporary Chinese novels. The third section discusses the significance of the topics, the present research situation of the issue, the focus, and the writing mentality. The first chapter-the viewers’ imagination. This chapter has altogether three sections. The first section reveals the upsurge of the Tibetan novel written by Han writers. The double barrier of modernity/Sinicization is the theme of the second section. The third section, the cultural selection of pilgrim, introspection or pursue, discusses and analyzes the Tibet domain novels of Ma Lihua, Yang Zhijun, Ma Yuan and Fan Wen. The second chapter, the saying of the self-concepts’, including the magnificent turn of the Tibetan writers, the listening of footsteps of the local culture, and the profuse interpretation of modernity, comprehensively discusses the ground-breaking significance of the Tibetan writers. The cultural connotation and spiritual pursuit in the works of Yang Zhen, Mei Zhuo and Tasi Dawa are interpreted primarily. The third chapter-the Tibetan culture--the source of A Lai’s creation. This chapter mainly discusses the acculturation that impacted on A Lai and his creation by the Tibetan culture. The showing of the Tibetan culture, the early religion and Tibetan Buddhism are the important content of this chapter. The fourth chapter-the Chinese culrure--the pursuit and guardian of the son of Jia rung. The nourishment and penetration that provided by the Chinese culture to A Lai’s are elaborated in this section. The primary elements include the penetration of Taoism and the continuation and heritage of the Chinese literary tradition. The fifth chapter discusses A Lai’s creation from the perspective of fusion of Chinese and Tibetan cultures. This chapter consists of two sections, they are the ecological concern affected by "Tian Ren He Yi" and "conditioned causality", and the harmonious interpersonal relationship influenced by the concept of "benevolence" and "creatures are equal". The sixth chapter focuses on the uniqueness of A Lai’s novels. This chapter includes four sections. The title of the first section is the Tibet is no longer a distant existence. The second section’s title is legend is reality. The topic of the third section is a different cognition of history. Demonizing narrative is the title of the fourth section. The uniqueness of A Lai’s novel is discussed from all kinds of levels, that is, the thinking contains, distinctive view of history and narrative art. Meanwhile, this chapter also analyzes the creation of A Lai and Ma Yuan, Tashi Dawa, Ma Lihua and Yang Zhijun comparatively. The conclusion generalizes the significance of A Lai and his position in in the Tibetan literature and contemporary Chinese literature.更多还原