【作者】 杜丽丽；

【导师】 仵从巨；

【作者基本信息】 山东大学 ， 比较文学与世界文学， 2012， 博士

【副题名】以约翰·福尔斯、安·苏·拜厄特和格雷厄姆·斯威夫特的创作为例

【摘要】 新维多利亚小说自1967年《法国中尉的女人》问世以来,已历经四十余年,然而它作为一个重要的文学、文化现象被讨论则主要始自上个世纪末。在“历史终结论”、“末日论”以及各种消费文化思想的影响下,再加上世纪末的怀旧情绪,学者们在回望、总结“愤怒的六十年代”之后英国文坛上的重要现象时发现了一股明显的“维多利亚热”,并将这一现象命名为“新维多利亚主义”。以维多利亚时期为主要背景的后现代历史小说则相应地被称为“新维多利亚小说”。本论文对新维多利亚小说的研究在形式和内容两个方面同时展开。绪论部分借鉴德里达幽灵学的方法,将“新维多利亚小说”理解为后现代作家以“幽灵书写”的形式在维多利亚历史与当代社会现实之间展开的一场对话。过去逝者已逝,以在场的方式遗留下来的只有相关的“踪迹”。新维多利亚作家采用“历史编纂”的形式将这些历史“踪迹”融入后现代意识形态对维多利亚历史重构的过程之中,使新维多利亚小说文本成为了当代作家与维多利亚前辈“幽灵”之间话语交锋的重要“场所”。第一章题为“维多利亚时代与后现代叙事重构”,分析新维多利亚小说中作为权利话语建构的重要策略的历史叙事,探讨维多利亚时期以什么样的形象被再现的问题。福尔斯的《法国中尉的女人》描述了一个保守、虚伪的维多利亚“理性王国”。拜厄特的《占有》、《天使与昆虫》深入刻画了十九世纪唯灵论与达尔文主义的冲突以及由此引发的宗教信仰的危机,堪为一幅维多利亚人的精神肖像图。斯威夫特的《水之乡》、《从此以后》以家族叙事的形式将维多利亚世界呈现为一个进步的“理性王国”与怀旧的“异国他乡”的合奏曲。在新维多利亚小说中,维多利亚和后现代两个时期通常被共时性地糅合在一起,在当代“后视镜”的折射下历史呈现出一副陌生而怪异的“他者”面孔。第二章题为“元历史罗曼司叙事模式”。首先,以《法国中尉的女人》、《占有》、《从此以后》为例,分析新维多利亚小说中的罗曼司叙事和元小说“自我意识”。然后,探讨现实主义的“历史编纂”、通俗小说中的罗曼司叙事因素以及元小说的“自我指涉”三者之间如何形成复杂的运作关系。元历史罗曼司的叙事模式使新维多利亚小说总体上呈现出复杂的叙事、美学特征。小说对传统历史叙事的真实性的质疑不仅在理论的层面展开,更是通过罗曼司和现实主义两大文体的并置以及两者之间互为对话、相互消解的镜像关系得以进一步深化。第三章题为“叙事时间和空间：空间化的历史”。新维多利亚小说打破了传统历史叙事中的线性时间结构,建构了“空间化的历史”。在《法国中尉的女人》中,福尔斯在叙事形式和存在主义的时间体验两个方面破除了传统线性时间的“虚妄”,以“时间是一个房间”的空间化隐喻,对存在和自由等问题进行了积极反思。《占有》和《天使与昆虫》中,主要表现为相对于“进步”、“理性”等男性话语支撑的线性时间而存在的“女性时间”。拜厄特在作品中结合了性别意识和历史意识,既在空间上反映了女性生存的边缘性,也在时间上表达了女性历史的循环往复,并在此基础上重构了女性历史的血脉。斯威夫特的《水之乡》与《从此以后》中,历史多以“记忆”的形式展开,时间随记忆的发散在过去、现在、未来之间随意穿梭,呈现为“网状时间”。斯威夫特强调历史中的一个个“此时此地”,在小说中绘制了一幅幅由“此时此地”的时空坐标构成的“自然历史”地图。第四章题为“叙事声音：众声喧哗的对话性历史”。新维多利亚小说中,开放性的文本结构使各种不同的声音均参与到对历史的言说,历史呈现为一种“话语杂多”的众声喧哗。具体表现为三个方面：作者与人物之间的对话(《法国中尉的女人》),作者与亡者之间的对话(《占有》、《婚姻天使》),边缘与中心的对话(《水之乡》)。这些对话打破了传统历史叙事中的话语独白和权威叙事声音,使历史成为福柯意义上的“共时性的权利之争”。余论部分是批判性反思。新维多利亚小说的幽灵书写使历史陷入丧失了客体的无休止的意义追寻,维多利亚时代不可避免地论为了怀旧中“遥远的异国他乡”。然而,新维多利亚小说并非“怀旧的后现代主义”,元小说的“自我意识”使作家始终保持了对历史罗曼司行为背后的权力话语进行反思和批判的人文立场。面对历史和传统,新维多利亚作家怀旧与反讽并存,历史的“救赎”意识与“批判”精神同在。新维多利亚小说中的元历史罗曼司叙事开创了后现代语境下一种新的历史书写范式,使小说摆脱了形式试验的困境,重新赢得了众多的读者。而且这一叙事模式充分彰显了小说这一文体整合性、包容性、吸纳性和无限拓展性的本质特征,表述了后现代主义矛盾性、不确定性的时代精神。更多还原

【Abstract】 The last few decades have witnessed an upsurge of interest in Victorianism in British mass culture, which aroused the curiosity of postmodernist novelists to revisit, reinvent and reconstruct Victorian past from contemporary revisionist perspectives. As an important literary and cultural phenomenon, Neo-Victorian Novel emerged in the1960s with the publication of John Fowles’ The French Lieutenant’s Woman. However, it was not until1990s that such a phenomenon caused enough attention from the critical circle.This dissertation focuses on the historical narrative in Neo-Victorian Novel. My analysis starts from the reading of Neo-Victorian novel as the haunting "topos" of Victorian Specters, which are brought back to life by postmodernist novelists and are open to an encounter with contemporary readers. In this way, Neo-Victorian Novel establishes a dialogue between the dead (Victorian ancestors) and the living (us), encourages us to speak with the dead, and calls into question the certitude of our historical knowledge.Chapter one examines the Victorian age and its distorted images reflected through the "Rearview Mirror" of contemporary ideology. Historical narrative is illustrated as an important narrative strategy for postmodernist rewritings and is discussed in both formal and ideological dimensions. In The French Lieutenant’s Woman, John Fowles depicts a reserved, hypocritical Victorian "realm of reason", compared with our postmodern reality. In Possession and Angels and Insects, A. S. Byatt deeply explores the inner souls of the Victorians, positing them in intense conflicts between Darwinism and Spiritualism, two seemingly incompatible and equally controversial ideas of the period. In Waterland and Ever After, the Victorian Age is presented alternately as a progressive "realm of reason" and a nostalgic "strange country" for contemporary protagonists. As the two ages are usually juxtaposed synchronically in Neo-Victorian Novel, it defamiliarizes our preconceptions of the Victorian Age, and history thus betrays an unfamiliar face.Chapter two discusses Metahistorical Romance as a frequently adopted narrative mode in Neo-Victorian Novel, through a close reading of The French Lieutenant’s Woman, Possession and Ever After. Considering the changing circumstances in1990s, I prefer Metahistorical Romance to Historiographic Metafiction, when depicting the peculiar characteristics of Neo-Victorian Novel; therein Romantic elements are used or abused pervasively. Special attention is paid to the complicated functioning mechanism among Romance, Historiography and Metafiction, which self-reflexively problematizes traditional historical narrative in both theoretical and aesthetical dimensions. Firstly, the combination of metafiction with historiography puts our certitude of historical knowledge under interrogation. Secondly, the juxtaposition of Romance and Realistic historiography further blurs the boundaries between fact and fiction, and challenges the very nature of historical reality.Chapter three turns to the narrative time and space. Neo-Victorian Novel no longer subscribes to a secular and linear sense of time; instead it undermines temporal linearity by positing a multiplicity of "times", and thus establishes a spatial history filled with fragments and anachronism. In the case of The French Lieutenant’s Woman, I investigate the conceptual metaphor on time in the novel, i.e."Time is a Room", which reveals Fowles’ view of spatial time, closely connected with Sartrean existentialism and freedom. In Possession and Angles and Insects, Women’s Time is foregrounded by A. S. Byatt. Distinguished from men’s progressive linear time, Women’s Time always remains cyclical/monumental. Byatt traces and rewrites women’s history by breaking traditional temporal linearity in her cyclical narrative structure. In Waterland and Ever After, Swift explores time in the sense of natural history. Time is presented in line with free association of ideas in the protagonists’ memory and recollection, thus it is similar with network structure.Chapter four focuses on the narrative voices. In Neo-Victorian Novel, the open structure of spatial narrative invites different voices to engage in dialogues between the past and the present. Three types of dialogues are closely examined: dialogue between the author and his characters(The French Lieutenant’s Woman), dialogue between the living and the dead (Possession and Angles and Insects), dialogue between the center and the marginal (Waterland). Based on various voices afore-mentioned, Neo-Victorian Novel establishes a dialogic mode of history and the single authorative voice from traditional Grand Narrative is totally at stake.Conclusion is a critical reassessment. On one hand, the spectral presence of the Victorian past in Neo-Victorian Novel shows a postmodern nostalgic yearning for a simple and stable past as a refuge from the turbulent and chaotic present; one the other hand, the Victorian past is not merely a nostalgic "strange country", but serves as a Sublime History we always push forward, seeking for the real "Truth", paradoxically with a clear self-awareness that "Truth" can never be reached. Therefore, I argue nostalgic homage and revisionist subversion coexist in Neo-Victorian Novel. Thus it can be regarded as the composite novel of its epoch. It demonstrates a complicated narrative aesthetics by highlighting the cannibalizing, ever-broader, all-encompassing nature of the novel; meanwhile it fully betrays the ambiguous, controversial, oxymoronic nature of postmodernism.更多还原