【作者】 南志刚；

【导师】 朱栋霖；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2005， 博士

【摘要】 本文以文化本土化和审美主体性为基本立场,运用比较叙事学的方法,在全球化视野中分析西方现代叙事学和中国叙事传统的冲突与融合,通过解剖以马原、余华、莫言、苏童、格非为代表的中国当代先锋小说的叙事特征和美学属性,探讨中国文学面对全球化语境的对策和出路。绪论:首先通过对叙事学中普遍抽象的人、叙述主体、技术主体等人学观念的分析,抓住叙事学的文化本质和文学价值观;其次,结合中国当代先锋小说的实际情况,分析叙事学的人学观对先锋小说价值取向和叙述技术等方面的深刻影响,认为在中国当代先锋小说与西方叙事学“错位的对接”背后,体现了中西文化在20世纪80年代人的解放、思想解放背景下的不同选择。第一章,动态地描述叙事学的中国接受语境和接受过程,分析这一过程中西方话语霸权和民族话语缺失的深层原因,指出叙事学中国接受存在的以西化中、以中证西,忽视民族审美经验和文化传统,进行技术层面简单类比等文化态度和方法的误区,并以“中国的声音”为标题,对中国叙事学研究的状况和主要成果进行了必要的评述。第二章,分析西方叙事学理论对马原“叙事圈套”的影响,从叙述人、叙述态度、叙述视角的角度,透析马原“叙事圈套”在突出叙述主体、实验西方小说叙述技术的同时,淡化了文学的审美主体和生命意识,忽视民族生活经验和叙事文学传统的致命弱点,肯定文学首先是生命美学,然后才是技术美学。第三章,分析余华小说的叙述时间问题,提出余华小说的叙述时间经历了20世纪80年代中后期的先锋时期、90年代初期和90年代中期等三个阶段,呈现出两条相互联系的线索:叙述的快感——自我的复活——人物的声音;冷漠的时间——体验的时间——生命的时间,透视余华从西方现代主义文学理念向中国当代现实文化转变,从抽象的人性思考向现实的生命关怀的转变,揭示了余华从自我迷失到个体自我、再到回归文化自我的成长历程。第四章,针对批评界关于莫言“民间写作”的评论,从叙事学语域理论的角度,通过对莫言小说中精英文化立场和民间文化立场、精英话语和民间话语、西方话语与中国话语等关系的分析,提出莫言小说的伪民间话语场、伪民间叙述和伪民间立场的精神实质,质疑“民间写作”这一理论本身的必要性。第五章,以中国叙事传统中诗意追求的思想基础和形式技法为基本依据,分析苏童小说细腻诗意的抒情笔调和更多还原

【Abstract】 This text with culture localization and aesthetic principal part for basic position, application the method of compare narrative, analyze in globalization between the western modern narrative theory and the China traditional narrative theory with conflict and amalgamation. Pass the dissection with the horse is original, remaining Mayuan, Yuhua, Moye, Sutong, and Gefei, for the representative’s Chinese contemporary vanguard narrative character and aesthetic predicable, probe into the Chinese literature countermeasure and outlet.Introduction: The first, with analysis of the narrative theory such as widespread and abstract person, describe the corpus, technique corpus etc, the author holds tight the culture innate character that the narrative theory with the worth a view in literature; The second, joining together the cloak-and-dagger and actual circumstance in Chinese contemporary vanguard, the analysis that the human theory of the narrative theory deep influences vanguard novel and describe technique etc., put forward the Chinese contemporary vanguard and the west narrative theory " alternate with connecting", embodiment the different choice between China and Western by background descend of 80’s of 20 centuries human theory.Chapter one, dynamicly describing narrative theory accepts the context with accept the process, analyzing the western words in inside in this process language hegemony with the deep layer reason of the race words language imperfection, the author points out to narrative theory China accept existent to the west turn the inside, with inside certificate west, neglect the race aesthetic experience and the culture tradition, proceed the technique level simple type ratio etc. culture attitude with the mistake area of the method, and" with Chinese voice" for headline, recounted to learn the investigative condition to China to proceed with main result the necessary comment.Chapter two, analyzing west narrative theories talking about influence to Mayuannarrative trap with the angle of view from the narrative personal, attitude and angle. The one is original" narrative the trap" in the outstanding description corpus, experiment the west novel describes technical, the other is that downplay to aesthetic body and the life consciousness of literature, neglect the race life experience with recount the traditional fatal weakness in literature. The affirmative literature is a life to learn first, then is just technique esthetics.Chapter three, analyzing narrative time of Yuhua’s novels, we put forward a conclusion that presents two mutually contacting from his three stages such as vanguardperiod, 90’s early and middle of 9O’s:The narrative pleasant sensation------theresurrection of oneself------person of the ego of the description; apathetic time------experiences personally------vital time. With the turn from the western modernismliterature principle to contemporary and realistic culture in China, considers from the abstract human nature the change of the realistic life concern in direction, we can announce Yuhua who comes through from the childhood that write to the hand writer, then arrive the process of growth of the excellent novelist.Chapter four, aiming at criticizing boundary concerning Moyan talking" folks composing" from the narrative theoretical angle and his writers1 standpoint and utterance from elite culture to flock culture, the author brings up Moyan’ inspirit solid is fake folk utterance context, fake folk narrative and fake folk standpoint, and the " folks composing" is void.Chapter five, basing on ideology, national feature and form technique, Sutong’s writers which exquisite and poetry are deep contracted with Jiangnan’s culture, Chinese narrative culture. At same times, we analyze Gefei’s novels that have narrative technique of classicality imago and narrative method. Both two writers’ inherit from Chinese narrative traditional culture can clairvoyance the conversion from tradition to modernization.Conclusion, put forward the Chinese literature face the global condition wanting to be with the Chinese independent body, taking own culture character, participating literature developments of world with culture developments, for this, we must insist three return with three holdouts: Return to the native culture position, resist the westernwords language hegemony; Return to the literature aesthetic body, resisting the abstract description corpus; Return to the human life consciousness, resist the pure technique performance.更多还原