【作者】 邵艳平；

【导师】 宿久高；

【作者基本信息】 吉林大学 ， 日语语言文学， 2014， 博士

【摘要】 《平家物语》是日本中世纪名作，讲述了平安时代末期，贵族、武士、僧侣等各方势力争权夺霸、风云动荡的历史。全书时间跨度近百年，空间几乎覆盖整个日本列岛，涉及上至天皇、贵族，下到百姓、歌女等众多阶层。《平家物语》不仅是军事小说的代表作，就整个日本文学史而言，也是当之无愧的杰作。《平家物语》之最大特色在于成书过程。伴随着琵琶法师的弹唱，平家故事流传于整个日本，成为能够反映日本国民思想、备受日本国民追捧的文学作品，又被称为“国民叙事诗”。后代的许多文学作品、戏剧、电影、电视、漫画等取材于《平家物语》，足见其受喜爱的程度。《平家物语》版本众多，首先有两大类：一被称为读本，主要供阅读；二被称为话本，主要供说唱。话本又根据有无〈灌顶卷〉分为：有〈灌顶卷〉之“一方流”诸本；无〈灌顶卷〉之“八坂流”诸本。流传最广、受众最多的，当属“一方流”诸本中的觉一本。笔者选取了觉一本为研究对象：其一、觉一本在诸本中流传最广，能够反映当时日本民众思想，能够代表该作品的创作语境和接受语境；其二、觉一本成书较晚，有明显的艺术加工痕迹，从叙事学之角度而言，拥有更高的艺术成就和研究价值。日本对《平家物语》的研究起步较早，数量也很可观，主要呈现以下特点：研究内容不断细化，细致到某个人名、地名、语音的考证；跨学科领域的研究成果日益增多。中国对《平家物语》的认识始于翻译，近年来研究成果数量持续增长。由于具备中国文化、文学的独特优势，我国的研究者们自然地将视线聚焦于中日比较文学领域，进行影响研究和比较研究。本论文的研究，是以叙事学理论为支撑，以梳理《平家物语》所采用的叙事策略及其所取得的叙事功能为主体，以考察作者的主观叙事意图与作品的客观叙事效果为核心，以解读《平家物语》对中国文学原型的置换变形为旨趣。在叙事体例领域，我们结合中国传统文论，重在阐释《平家物语》的叙事网络，发掘中国的史传传统对《平家物语》叙事体例的影响。在《平家物语》中，编年体例贯穿全篇，以纵向的时间为线索，历时性地叙述了日本平安时代末期风云际会的动荡历史；纪传体例交叉其间，以横向的空间为线索，共时性地交代了历史人物与历史事件的前因后果；编年体与纪传体的完美契合，形成了纵横交错的网络，共同构筑出作品的叙事脉络。就叙事视角而言，我们发现《平家物语》交替使用了全知视角和变换式人物有限视角。时而采用全知视角，越界干涉叙事，或者随意变换聚焦对象，或者任意透视人物内心世界，印证了全知叙述者的全知全能。时而采用限知视角，将叙述眼光聚焦于次要出场人物，刻意隐瞒主角人物的真实身份，造成关键信息的留白，增强了作品的神秘感和吸引力。在《平家物语》内部，全知视角和限知视角的不断流动、交替运用，创造出良好的叙事弹性机制，从而也获得了新颖的艺术张力与审美意味。从叙事结构的角度来看，《平家物语》并没有囿于叙事先后顺序地僵化格局中，而是对历史上的故事时间进行了切割与重组，恰当好处地采用了预叙、插叙、补叙、倒叙、分叙等叙事手法，造成了时间倒错的叙述机制，构建出富有层次的多维叙事时空。叙事文体方面，觉一本中和歌、连歌、狂歌、歌谣等韵文体的运用，不仅是叙事的需要，也是为了满足叙述者、琵琶法师、乃至广大读者和听众的情感诉求。我们还发现《平家物语》中的很多歌谣均与佛教、神道教等宗教信仰、巫术等神秘现象密切相关。这既反映出当时的日本民众普遍敬畏神佛、鬼魂，希望借助歌舞表演等形式取悦神佛，安抚亡灵；也从另一个角度折射出佛教、神道教、巫术等为了获得广泛的群众支持，也借助了歌谣的形式。叙事话语领域，作者的叙事话语，与出场人物的叙事话语的变化转换，不但可以调节叙述速度，还可以调节叙述者、出场人物与受众之间的关系。《平家物语》作品内部充满了人物与人物之间、集团与集团之间的对话与交锋，但叙述者对于他们之间的矛盾冲突并未给出明确评判，这鲜明地体现出众声喧哗的“复调”特征。由此可见，《平家物语》并非由单一的儒家伦理观念所支配，也不是片面地强调神佛的权威性，而是让道、佛以及其他意识形态之间形成对话关系，并在这个对话过程中形成众声喧哗的场面。就叙事手法与人物形象而言，类比法、对比法、衬托法等各有千秋，又都服务于《平家物语》的整体框架。类比手法的运用，使得出场人物、出场团体的命运两两相应，相得益彰，既节省了笔墨，又在无形之中放大了他们的性格特点和命运特征。对比手法的运用，不仅突出了人物的典型性格特征，彰显了作者的褒贬之意，还渲染了作品的悲剧色彩。衬托手法可以更大限度地透视人物的内心世界，烘托主角的非同寻常。圆形人物形象饱满而逼真，扁平人物形象性格突出；在《平家物语》中互为衬托与关照，共同表现出历史转型期的社会万象。叙事文本与主题方面，借助文学原型理论，我们可以发现：《平家物语》与中国文学之间存在的相互指涉关系，但与此同时，作者又在潜移默化中对中国文学原型进行了置换变形，使之更符合日本的“正统观”。《平家物语》是一部反映社会转型期动荡历史的时代画卷；正是多位立场不同、阶层各异、经历有别的作者和讲述者的参与，才在不同程度上添加或者渲染了他们各自的思想主张，共同为《平家物语》编织了一张多综复杂的主题网络。综上所述，叙事学视域中的《平家物语》，涵盖叙事体例、叙事视角、叙事结构、叙事文体、叙事话语等诸多叙事策略。它们共同服务于《平家物语》的整体结构，提升了作品的艺术张力，渲染了作品的悲剧氛围。其次，觉一本所取得的良好叙事效果，体现了作者在谋篇布局方面的匠心独运。但在某些方面，作者的主观叙事意图、与作品呈现的客观叙事效果之间也存在着偏差，从而使得人物形象存在错综矛盾的多面性，比如平清盛、平重盛的人物形象。这反映出《平家物语》并非完成于一人之手，而是成书于不同立场的讲述者、传播者。所以，作品的叙述呈现出多义性、多面性。再次，《平家物语》虽然受到了中国文学的诸多影响，但并非单纯地照搬或模仿，而是于微妙之处改变了中国文学原型的所指。笔者认为这正是日本民族集体无意识的深层体现：中国正统论观念传入日本后便受到扬弃，其中改朝换代的因素完全摒除。因此，《平家物语》对“烽火戏诸侯”、“荆柯刺秦”等中国文学原型进行了置换变形，赋予其新的解释，使之更符合日本当时被视为“正统观”的神国思想。更多还原

【Abstract】 Heike Monogatari, which tells at urbulent history that nobles, knights and monks,such different classes fight for political power at the end of the Heian period(794-1192), is a masterpiece in medieval Japan. It spans nearly one hundred years,narrates from the emperor and aristocrats to common people and geishas and coversalmost the whole Japanese archipelago. Heike Monogatari is not only a representativework of military novels, but also a well-deserved masterpiece in the history ofJapanese literature. The most distinguishing feature of Heike Monogatari is process ofthe creation. With the lute players’ playing and singing, the Heike family’s storiesspread widely in the whole Japan and become a popular literary work which reflectspeople’s idea of that time, thus it is also called the national epic. The later literaryworks, dramas, movies, teleplays and comics are based on Heike Monogatari, fromthis we can see its popularity.Heike Monogatari has many versions, mainly in two branches: one that is forpeople to read called reading version, the other that is for people to perform calledlibretto. However, libretto can be divided into two versions according to initiationsvolume: one is ichikataryuu with initiations volume and the other is yasakaryuuwithout initiations volume. Among them the most widely spread and the most popularis the version by kakuiti. So we choose it as our study object, the reasons as follows:first, it is the most widely spread so that it can reflect people’s ideas of that time and itcan represent writing context and acceptive context of the works; second, it is the latestbook with obvious traces of artistic embellishment, for this reason, it has higher artisticachievements and research values from the angle of narratology.Research on Heike Monogatari starts earlier in Japan with a great deal of quantity,and it mainly focus on the following characteristics that study contents have been undergoing a process of refinement, detailed to research of person name, geographyname and speech sounds. Chinese get to know Heike Monogatari from its translationversion, and research achievements has been continued to grow in recent years. Withthe unique national cultural and literary advantages, Chinese researchers focus on thecomparative study and its influences between Chinese literature and Japaneseliterature.This dissertation makes a research on Heike Monogatari based on narratology,and aims to comb the narrative strategies and their narrative functions as the principalpart, to examines the subjective intention of the author’s narrative and the objectiveeffect of the works’ narrative as the core, and to understand the archetypalreplacements of Chinese literature in Heike Monogatari as the purport.In the field of narrative patterns, we mainly interpret the narrative net in HeikeMonogatari and explore the influence to the narrative patterns in Heike Monogatarifrom the traditional Chinese historical biography. On one hand, in Heike Monogatarichronological patterns penetrate the whole book, the longitudinal time is taken as aclue, gives a diachronic description of turbulent history at the end of the Heian period;on the other hand, biographical patterns interlude properly, which takes the transversespace as the clue and gives a synchronic account of the antecedents and consequencesabout the historical figures and events. Chronological patterns and biographicalpatterns combine perfectly, and form a criss-crossing net, finally construct thenarrative context together.As far as the narrative perspective is concerned, we found that Heike Monogatariare used interchangeably with omniscient perspective and limited perspective ofcharacters’ transformation.Sometimes, it uses omniscient perspective to intervenenarration by transgression,changes focalized objects or describes any characters’ innerworldrandomly, which confirm the omniscient and omnipotent narrationfrom theomniscient narrator. However, sometimes it uses limited perspective and focuses onthe minor characters, which deliberately conceals the true identity of the protagonist,resulting in the blank of critical informationand enhances the mystery and attraction of the works. As for the inner part of Heike Monogatari, both the omniscient perspectiveand limited perspective are dynamic and commutative,which create good narrativeflexible mechanisms, and also receive a new artistic tension and aesthetic meaning.As for the perspective of narrative structure, Heike Monogatari is not confined tothe rigid pattern of narrative sequence, but cut and restructure the story time in history,and usespre-narrative, flashback, supplemented narration and separated narrationproperly to cause the narrative mechanisms of time’s perversion and to build amulti-dimensional and hierarchical space and time.As for the narrative style, the usage of Waka, renga, folk song and other styles inthe version by kakuiti is not only the narrative need, but also the need for emotionalexpression of narrators, lute players and even all the readers and listeners. We alsofound that many of the songs in Heike Monogatari were closely associated withBuddhism, Shintoism and other religions, witchcraft and other mysteriousphenomena,which,on one hand, did not reflect the widespread fear of the Japanesepeople in the deities and ghosts, hoping to please the deities and appease the souls bydancing and other performances; on the other hand, it reflects that the Buddhist, Shinto,witchcraftuse the songsto obtain broad public support.In the field of narrative discourse, the transition and shifting of the narrator’sandfigures’discoursescannot only adjust the narrative speed, but also adjust therelationship among the narrator, the characters and the audience. Heike Monogatari isfull of dialogues and confrontations between figures and figures as well as groups andgroups, but the narrator did not give a clear judgment for the conflicts between them,which clearly reflects the feature ofoutstanding hubbub "Polyphony ".Thus, HeikeMonogatari is not dominated by a single Confucian ethics, nor is one-sided emphasison the authority of deities, but gives way to form a dialogue between the Buddha andother ideologies, and, in which cacophonous sceneis formed.Fornarrative techniques and characters, the analogy, contrastand correlationtechniques, each has its merits, but they all serve for the frame work of HeikeMonogatari. As for analogy, it makes the figures’ and groups’ fate echo and benefit each other, not only reduce the words but also enlarge their character traits and destinyfeaturesinvisibly. The application of the contrast, not only highlights the characters’typical personalities, and reveals the author’s praise or census, but also renders thetragic color of this works.Correlation techniques can describe the figures’ inner worlddeeply and largely, and embodies the protagonist’s extraordinary. Round characters arevigour and vivid, while flat characters are prominent in personalities; the twocoordinate with each other and reflect thevarious aspects of the society in historicaltransition.As for the narrative texts and themes, depending on the theory of archetype, wecan find that the Heike Monogatari associates closely with the Chineseliterature,however, meanwhile the author replaces andtransfigures the archetypes inChinese literature in order to make it meet the Japanese orthodox ideas. HeikeMonogatariis apanoramic which describes turbulent history in the socialtransition;thanks to the participation of narrators with different standpoints, differentstratum and different experiences, and they express or strengthen their respectiveideological propositions in varying degrees. All of them make a complicated thematicnetwork for Heike Monogatari together.In conclusion, Heike Monogatari involves many narrative strategies in the field ofnarration, such as narrative patterns, narrative perspectives, narrative structure,narrative style and narrative textsand so on. All of them work on the whole structuretogether, enhance the art tension and render the tragic atmosphere.Secondly, effective narrative effect of the version by kakuiti reflects the author’sunique thinking in organization and layout. But in some ways, deviation also existsbetween the subjective intention of the author’s narrative and the objective effect of theworks’ narrative, thus many multi-faced and anfractuous figures appeared,such asTairano Kiyomori and Taira Shigemori, which all proved that this book wasn’tcompleted by only one person but many different narrators and communicators indifferent positions. Therefore, the work’s narration shows ambiguity and versatility.At last,Heike Monogatari was influenced deeply by Chinese literature, but it is not the only copy or imitation, in fact it transfigures the signified of archetypes inChinese literature in the subtleties, which is the deep reflection of Japanese collectiveunconsciousness: Chinese orthodox ideas were sublated when introduced in Japan,especially the factor of the replacement of the dynasties was renounced. Therefore,Heike Monogatari replaces and transfigures archetypes in Chinese literature such as“The Emperor and the Assassin” and “The Flames of Drama”, gives it a newinterpretation to coordinate with the Japanese thought which is considered as"orthodox view".更多还原