【作者】 杨亮；

【导师】 罗振亚；

【作者基本信息】 南开大学 ， 中国现当代文学， 2012， 博士

【摘要】 “叙事性”问题被许多批评家誉为90年代诗歌对现代汉诗最显著的诗学贡献。但是，就研究实绩而言，相较于90年代诗歌其它核心概念，“叙事性”却是在认识上歧义最多，至今尚未形成统一共识的一个诗学观念。因此本论文试图将微观现象透视同宏观理论建构相结合，既侧重于史的梳理，又侧重于在文本细读中发掘特征和异同，立体展现“叙事性”诗学发生、发展的全貌，以及对“叙事性”诗学理论的内涵进行阐释。绪论部分着重探讨三个问题，其一介绍跨语际诗学实践中的“叙事”，将“叙事”放在古今中外的诗学现场中，探讨“叙事性”的理论传承；其二厘清“叙事性”的诗学概念，学界目前对“叙事性”概念的使用和理解都处于较为混乱的状态，因此本论文着重从“叙事性”同“叙述性”、“叙事诗”以及“叙事”等相关相近概念进行比对和区分，还原“叙事性”清晰的轮廓；最后则着重介绍本论文的研究现状、研究目标及方法。第一章着重从纵向梳理的角度，回溯新时期发展三十余年来“叙事性”诗学的孕育、发生、发展与过程。第一节探讨新时期伊始，至90年代“叙事性”浪潮出现之前，这十来年诗坛存在的潜在的“叙事”状态，并论述其缘何成为“叙事性”理论建造的草创期；第二节从时代语境的转变，结合具体创作现象及理论发展，探讨90年代诗歌“叙事性”理论的成熟和壮大；第三节抓住新世纪十年来，“叙事性”进一步发展所形成的“狂欢化”局面，做细致与全面的概括和评价。第二章重点考察“知识分子写作”诗人群中的“叙事性”特征，即“叙事性”同知识分子诗人群的写作立场和审美取向相互融合与创造的过程。第一节主要探讨“知识分子写作”的“及物性”倾向，着重分析其“个人”与“历史”间的矛盾感在文本中的呈现；第二节从互文性叙事的角度，考察知识分子写作的互文性叙事的特征，从主体间性和欧化语言运用两方面探讨知识分子写作独特的叙事特质；第三节则侧重考察“知识分子写作”诗人侧重于技术性叙事的特征，从“戏剧化角色”、“元诗歌”以及“跨文体写作”三个方面探讨其对叙事性技巧的探究和提炼。第三章将讨论的重点放在“民间写作”诗人群对“叙事性”的探索上。第一节从表现内容着手，分析民间写作的事态化叙事取向，即在日常生活化叙事所包蕴着的平民化、或市民阶级的生活状态和精神走向；第二节则抓住“民间写作”解构的叙事性立场，从三个方面——“拒接深度模式”、“情感的零度”及“极端文体实验”进行论述，揭示“解构性叙事”的形成原因及风格特征。第三节则从“口语化”写作角度入手，分析其迥异于“知识分子写作”，依托于“口语”之上的叙事特征。第四章从“女性主义诗歌”角度入手，分析其在“叙事性”诗学的实践和运用中独特的性别色彩，第一节从体验型叙事的角度，分析“女性主义诗歌”由于特殊的运思方式以致叙事题材的攫取和表现方式相比较于男性作家均更侧重于“体验型”叙事的特征；第二节从叙事空间的位移角度，展现80年代中期以来“女性主义诗歌”叙事空间的转换及其所折射出的性别心理；第三节从“交流诗学”的角度出发，探讨90年代女性主义诗歌所呈现出的一种“交流”的态势，也蕴含着“叙事性”的诗学思维。第五章侧重于探讨“叙事性”的诗学理论的三个诗学特征。“经验性”作为“叙事性”的第一个诗学理论特征，旨在展现随着“叙事性”的发生，90年代对“叙事”与“抒情”的关系问题面临着重新的调整与思考，且作为一种敞开的诗学，“叙事性”讲求诗同经验世界的密切关联；第二节则由错综复杂的“叙事性”诗学文本中，提炼出其“综合性”的艺术特征，从“诗学技艺”、“语体风格”和“美学范式”三个层面探讨“叙事性”诗学的美学追求；第三节强调随着“叙事性”诗学的发生，写作主体同客观世界以及文本世界的关系发生了根本性转变，诗学由封闭走向了对话。结语则在总结论文核心观点、梳理了理论逻辑框架的基础上，着重讨论了“叙事性”诗学所引发的一系列深刻的诗歌话语变革，以及随着“叙事性”发展的日益深入，诗学现场所生发出的函待解决的一系列问题。更多还原

【Abstract】 The “narrative” is the most outstanding phenomenon of the Chinese vanguardpoem in1990s. But, on the current research situation for, the "narrative" has the mostdifferences in understanding, comparing with other core concepts in1990s.Therefore, this paper try to use the composite research methods with the close readingtext way and the construction of theory. Try to stereo show "narrative" poeticsoccurrence, development, the present situation of the picture, and the construction of"narrative" poetic theory connotation.The introduction part focuses on three questions. The first one of this paperintroduces cross interlanguage poetics in the practice of the "narrative". Will"narrative" in the poetics of ancient and modern, Chinese and foreign scene, anddiscusses the theory of "narrative" inheritance. The second one is the definition of theconcept of "narrative" poetics. On current academic circles of the concept of"narrative" use and understanding are in a state of disorder. Therefore this paperemphatically from the "narrative" with "state","epic" and related similar concept thanand differentiate, and will "narrative" reduction of relatively clear outline. Finally,this paper introduced the present situation of research, the research objectives andmethods. The first chapter emphatically from the point of view of vertically combed, backin the new period development more than30years to "narrative" poetics inoculation,occurrence, development and the status quo. This chapter is divided into three verses.The first section examines at the new period, to90s "narrative" wave there before tenyears in the poetry of the existence of potential "narrative" condition, and discussesits become "narrative" theory of the organization of the cause of the building. Thesecond section is from the era contexts change, with specific creation phenomenonand development of the theory, and discuss the mature of the "narrative" theory in90s poetry. The third quarter seize the new century ten years, according to "narrative"further development by the formation of the "carnival" situation do careful andgeneralization and evaluation.The second rules investigation "intellectual writing poetry in the crowd"narrative "features, and analysis "narrative" with intellectual crowd of writing poetryposition and aesthetic orientation mutual confluence and the process of creating. Thischapter is divided into three verses. The first section explores "intellectual writing""and physical property" tendencies, and the "individual" and "history" contradictionsbetween feeling and the present in the text. In the second quarter from the point ofview of intertextuality narrative, a visit to the intellectual writing the intertextualnarrative features, from inter-subjectivity of with European language reflects two show the intellectual narrative characteristics. The third quarter is focuses on"intellectual writing" poet focuses on the technical characteristics of the narrative, andfrom "dramatic role","original poetry" and "cross style writing" three aspects of itsnarrative skill of study and refining.The third rules will discuss the focus of "folk writing poetry for" narrative"crowd of exploration. This chapter is divided into three verses. The first quarter frompresentation to the content, the main analysis is the folk writing things narrationorientation, to show its civilian and bourgeois life state and spirit. The second sectionis capture "folk writing" the deconstruction narrative standpoint. From threeaspects—“the rejected by depth mode” and” emotional zero "and" extreme stylisticexperiment ", try to reveal "deconstruction sexual narrative" the cause of formation ofthe characters and style. The third quarter is about the colloquial writing Angle, andanalysis of the characteristics of its colloquial narrative writing.The fourth Chapter is from "feminist poetry" Angle, and analyses the "narrative"poetics and practice of the application of the sex of the unique color. This chapter isdivided into three parts. The first quarter is from the point of view of experiencednarrative. Due to special analysis of the way of thinking, that "feminist poetry"narrative theme and expression way more focused on the "experienced" narrativecharacteristics. The second quarter feminist poetry emphatically discussed the narrative space conversion. Since the mid80s the female poetry show the narrativespace transformation and gender psychological changes.The fifth rules and focus on the discussion "narrative" characteristics of poetictheory. This chapter on the basis of the "narrative" three poetic characteristics isdivided into three chapters. The first section explores the primary features of"narrative" poetics-" experience". The second quarter discusses the complex"narrative" poetic text, and to point out its "integrated" art characteristics. The thirdquarter with emphasis on "narrative" the happening of poetics, the relationshipbetween the subject in the objective world and text has a fundamental change.Epilogue is summarized in the paper core ideas, combed the logical frameoutside. Discussed the "narrative" poetics a series of profound poetry discoursetransformation, and along with the development of "narrative" penetrated, expressesthe respects of the poetics to be solved a series of problems.更多还原