【作者】 李军；

【导师】 仵从巨；

【作者基本信息】 山东大学 ， 比较文学与世界文学， 2008， 博士

【摘要】 法国当代作家阿尔贝·加缪(1913—1960)是存在主义哲学、存在主义文学的重要代表,其哲学沉思与文学实践集中探讨了“荒诞”。关于“荒诞”,加缪虽未创建一种系统的理论学说,但他承袭、推进以往哲学家关于荒诞的论述,形成了自己独特的“荒诞哲学”。其“荒诞哲学”在他关于荒诞的持续性思考中不断深化发展,丰富和发展了荒诞理论,因而在整个荒诞哲学体系(或“史”)中占有重要位置。其文学创作探讨荒诞、人与世界的关系,描述世界之不可理喻、个体的人对荒诞世界的体验认识、人应对荒诞的态度或行动,其作品因表现具普遍意义的主题在存在主义文学谱系中占有重要位置。加缪是有明晰、自觉的哲学观念的文学家,在文学创作中,他把抽象思辨的哲学思想充分融入文学形象之中,使其哲学观念在文学作品中实现了“文学化”。加缪哲学中的“荒诞”、“反抗”、“均衡”等关于世界以及人于世界之反应的基本观念成为其文学作品中的“主题”。重大的具有普遍意义的主题使加缪的创作由形象、直观的层面提升至思辨抽象的层次与深度,具有了深刻的哲理性与文学意义上的高度的抽象性,使形象化的文学走向或靠近了哲学。加缪的哲学思考与其文学实践经由“主题化”的努力实现了哲学与文学的联结或整合,为哲学如何“文学化”提供了一个富有意义的范例。因此,本文的目的在于:把握评析加缪的“荒诞哲学”;分析其哲学观念如何文学化地表达。基于其“哲学”基本或更多“存在”于其文学作品中,故,对其先作文学之把握就成为必须或先期的工作;在厘清、梳理、整体把握之基础上,总结其“荒诞哲学”并予以分析、评价;在此基础上,再予讨论其哲学“文学化”的可能途径或手段。作为文学家,加缪的文学创作伴随了其成年后的全部时光,他在47年的短暂生命历程中创作出许多为他带来广泛声誉或争议的作品,包括5部小说、5部戏剧、6部改编剧、1部短篇小说集、3部散文集、3部时政评论集。加缪的文学创作伴随其“荒诞哲学”的形成与发展,根据“主题”可大致分为三种。即:“‘荒诞’系列”描述世界的荒诞不经、事物的变幻无常、命运的不可理解、惯常生活的麻木机械,关照个体命运、个体行为与其精神状态,重视个体对其在世之中存在的主观体验,宣扬个体意识的觉醒,探讨个体面对荒诞付诸精神反抗的可能;“‘反抗’系列”展现人们遭遇的共同问题、面临的相似困境、经历的集体历史,描述主人公变个体的反抗为集体的斗争,由精神反抗走向实际的行动,以各自不同的反抗方式,走出孤独,走向集体抗恶,探讨集体反抗荒诞的可能:“‘均衡’系列”则讨论反抗的限度或界限,揭露暴力合法化的危害性,探讨有限度的反抗的可能,认为在某种抽象概念、历史目的、政治观念的指导下,选择以杀人作为手段并使之合理化合法化的反抗行动将蜕变为毫无节制、不受限制的暴力,导致官僚政治组织的增强、日益体系化以及自由的终结,最终走向专制强权。在加缪整个文学创作进程中,对世界荒诞、人之存在境况、人在异己世界中的孤独、人应对世界的态度与选择、人性、善恶等问题的深刻揭示使其作品具有哲学的品格与高度。“荒诞”是加缪整个哲学思考的核心。关于“荒诞”,存在主义哲学家有相关论述且各执一词、纷殊不一,加缪在其哲学随笔中提出了明确的概念、做出了明晰系统的论述。加缪认为有五种因素使人意识到了“荒诞”:厌烦(日常生活的机械性使人对其存在的价值和目的产生了怀疑,对存在状态提出疑问);时间(人对时光流逝的敏感);死亡(人意识到死亡):异己感(产生被遗弃于一个异己世界的感觉);有限性(人对自身有限性的承认)。加缪将“荒诞”界定为一种“关系”,它既是积极(对和谐一致的渴求)、消极(断裂、分离)两种异质矛盾要素之间的断裂关系,又是将两种矛盾要素联系于一体,使之并存共在的连结关系。他以“荒诞”表述人与世界的关系,即“荒诞”是人与世界的断裂关系,亦是人与世界关系之维系。就前者言,人与世界的断裂包含三个层次:人与世界的断裂;人与人之间关系的断裂;人与自身的断裂。就后者言,“荒诞”传达出人对事物合理性、可理解性的追求,它联接着人与世界,人以之确认自身、确定世界的存在,再度建立起与世界的关系。加缪系统地论述荒诞产生的缘由、荒诞的概念,形成了其“荒诞哲学”的第一个组成部分,即“荒诞理论”。继而,加缪提出面对世界人如何自持的问题。他否定了两种形式的自杀,生理自杀抹除了自身存在,哲学式自杀献身于虚无,放弃了斗争,二者皆为逃避。反抗则使人拥有了体验存在、获得本质或意义的可能,反抗者应立足当下,通过自由选择与付诸行动应对荒诞。加缪以荒诞为起点推导出反抗(清醒的认识、挑战的姿态)、自由(独自承担命运与行动后果)、激情(感受“量的生活”)的“结果”,他以唐璜、演员、征服者、艺术家四种形象加以具体阐释。“反抗”的态度和由“荒诞”得出的三个“结果”回答了人面对荒诞如何自持的问题,形成了加缪“荒诞哲学”的第二个组成部分,即“反抗理论”。加缪的“反抗理论”在其思想和创作的阶段性发展过程中是有变化的:由以清醒的意识为基础的孤独的个人反抗走向集体的行动上的反抗,转而在限度界限的维度中为反抗寻找出路。加缪肯定反抗的态度,清算“形而上的反抗”和“历史的反抗”,认为二者使暴力拥有了存在的合理性基础,以暴力(它倾向于绝对)取代反抗(它维系均衡)。反抗是在一定界限、范围内的有限行动,超过了限度,反抗则走向反面或另一个极端。加缪提出以均衡、适度、和谐为原则的“地中海思想”,将它作为“反抗”理论的核心,发展了其“反抗理论”。“荒诞理论”和“反抗理论”两部分在逻辑上是相通的,它们有机地组合成加缪自成一体的“荒诞哲学”。关于哲学如何“文学化”的问题,加缪作为一种方法或原则的是:以“主题化”联结或整合“哲学”与“文学”。他将关于荒诞的哲学思考与描述荒诞的文学创作紧密相系,其思辨的、抽象的、理性的哲学思想通过形象化的文学作品、借助具体的文学形象、以得体的艺术手段和生动的文学语言得以表达、展示、阐述,与此同时,其文学作品亦因之而得益。明晰的哲学观念使哲学家加缪自觉地将其以概念、思辨、逻辑、观念等织缀而成的哲学以艺术的方式“转化”为其文学作品中的“主题”,“主题”的体现与实现又是建立在以主题统辖、调动、利用不同文学形式的艺术元素的基础之上。而“主题化”又更使文学家加缪在创作中拥有自觉的主题意识,明晰、自觉的文学主题使其作品具有深刻的哲理性与文学意义上的高度的抽象性,亦因此具有超越时代、历史、社会、国别、民族、文化的久远价值与普遍意义。“主题化”转化了哲学,使哲学观念“成为”文学(作品中的)主题,在此一转化过程完成的同时,“主题化”提升了文学,使之因其哲学属性的主题而获得哲学的品格。加缪的哲学与加缪的文学在其创作进程中因“主题化”而互为补充,这使观念与形象相得益彰,实现了哲学的“文学化”表达,使加缪在哲学与文学两域拥有了重要的理论实践与卓越的艺术成果。可以说,“主题化”在一定意义上联结、助益、整合了哲学与文学,为哲学“文学化”这一问题提供了一种或更多、更大的可能性。更多还原

【Abstract】 As a contemporary French writer, Albert Camus (1913-1960) is one of the important representatives of existential philosophy and literature, whose philosophical thinking and literary practice focus on the Absurd.As for the Absurdity, though having never founded a systematic theory, Camus adopted and facilitated the discourses by the past philosophers, and formed his unique Absurd Philosophy. His Absurd Philosophy was constantly deepened and improved during his persistent thinking on absurdity, which enriched and developed absurd theory (history), therefore occupying an important position in the whole system of absurd philosophy. His literary works probed into the relationship among absurdity, human being and the world, described the world’s impenetrableness, individuals’ experience and cognition on absurd world, humans’ attitudes towards or actions on absurdity. His works, thanks to representing universal-sense themes, occupy an important position in existential literature.Camus is a litterateur who has self-conscious philosophic view. In literary works, he fully melted his abstract and reflecting philosophic thoughts into literary images, which makes his philosophic views expressed in literary works. The basic ideas about the world and about humans’ response to the world in Camus’ philosophy, such as Absurd, Resistance, Balance etc., become themes in his literary works. With those significant and universal-sense themes, Camus’ literary works are promoted from visualized and intuitionistic to reflecting and abstract, and endowed with profound philosophic thinking and high abstract in the sense of literature, which make visualized literature get close to philosophy. Camus’ philosophic thinking and his literary practice, through the way of expression in literature, achieve the connection or integration between philosophy and literature, thus, Camus showed a good example for how philosophy could be expressed in literature.Therefore, this Dissertation is to master and analyze Camus’ Absurd Philosophy, analyze how his philosophic views are expressed in literature. Since his philosophy exist in his literary works basically or more, to analyze his literary works becomes a necessary or early-phase work; on the base of clarifying, sorting out and overall mastering, it is to summarize his Absurd Philosophy and make analysis and comment, and on this base, to discuss the possible way or means of expression in literature of his philosophy.As a litterateur, Camus devoted himself to literary creation all of his adult time. In the short life of his 47 years, Camus wrote many works which brought him high reputation or disputes, including 5 fictions, 5 dramas, 6 adapted dramas, 1 short-fiction anthology, 3 prose anthologies and 3 affairs comment anthologies. Camus’ literary writing, according to the founding and development of his Absurd Philosophy and according to the Themes, may be divided into three parts. Firstly, the Absurd Series describes the worlds’ absurdness and unreasonableness, matters’ fickleness, fortune’s impenetrableness, daily life’s callousness and mechanism, concerns individuals’ fortune and behaviors and their psychosis, stresses individuals’ subjective experience on their existence in the world, advocates the arousal of individual awareness, and probes into the possibility of psychological resistance which individuals carry out when facing to the absurd. Secondly, the Resistance Series shows the common issues, similar predicament and collective history encountered by people, describes dramatis personaes’ tranfer from individual resistance to collective fighting, from psychological resistance to real actions, their debouchment out of loneliness and towards collective fighting with their different ways of resistance, and probes into the possibility of collective resistance against the absurd. Thirdly, the Balance Series discusses resistance’s limit or boundary, exposes the danger of violence’s legalization, probes into the possibility of limited resistance, believes that the resistance actions in the means of killing which was further legalized subject to the direction of an abstract conception, historical purpose and political view, will degenerate into unrestrained violence, leading to enforcement and systemization of bureaucratic organization and ending of freedom and finally autocratic power. In the whole progress of his writing, his profound exposures on world’s absurdity, humans’ situation of existence, humans’ loneliness in dissident world, humans’ attitudes and choices in the world, humanity, the good, the evil etc., endowed his works the characters and height of philosophy, which brings significant influence to his contemporary and future writers.Absurdity is the core in the whole philosophic thinking of Camus. About Absurdity, existential philosophers have enough discussed but in different views. Camus raised clear conceptions and made clear and systematical arguments in his philosophical essays.In Camus’s view, people are aware of Absurd from five factors: bored (because of daily life’s mechanism, people are suspicious of the value and purpose of their existence); time (people’s sensibility on time lapse); death (people are aware of death); sense of dissidence (people feel that they are abandoned to a dissidence world); limitation (people’s acknowledgment of their own limitation).Camus defined the Absurd as a Relationship, it is not only a broken relationship between positivity (aspiration for harmoniousness and identicalness) and negativity (broken, departed), which are two heterogeneous and paradoxical factors, but also interlink relation which takes the two paradoxical factors into one, and makes them coexist and geminate. He formulated the relationship between the humans and the world with absurdity, that is to say, Absurdity refers to not only broken relation between the human being and the world, but also a link for them. As for the former, the broken between the human being and the world includes three layers: break between the humans and the world; break between individual and individual; break between individual and himself. As for the latter, absurdity conveys people’s pursuance of the rationality and intelligibility of matters, which connects human being and the world, and with which people conform the existence of themselves and the world and establish the connection with the world. Camus discussed systematically the reason that the absurd occurs and dissertated the conception of absurd, which formed the first part of his Absurd Philosophy, i.e., Theory on Absurdity.After this, Camus raised that how the people restrain themselves when they are faced to the world. He denied two ways of suicide: physiological suicide erases self existence, and philosophical suicide devotes to nihility and gives up fighting, both of the two are for escape. From resistance, it’s possible for people to experience the existence and get the essence and significance. Resisters should find their footholds instantly, fighting against the absurd by free choice and real actions. With absurdity as a starting point, Camus deduced the consequences of resistance (clear cognition, challenge bearing), freedom (independently bear the fortune and action consequences), and fruits of ardor feel the life of quantity, and depicted them concretely with four images: Don Juan, actor, conqueror and artist. The attitude of resistance and three Results from Absurdity answer the question how people restrain themselves when they are faced to the absurd, and form the second part of Camus’ Absurd Philosophy, i.e., Resistance Theory.Camus’ Resistance Theory was changed during the phased development of his thought and creation: transfer from lonely individual resistance based on clear consciousness to collective real-acting resistance, and then seek for outlet for resistance within the limits. Camus affirmed the attitude of resistance, criticized the Metaphysical Resistance and Historical Resistance, thought that the two resistances make violence exist reasonably and replace Resistance (keep balance) with Violence (tend to absolute). Resistance is a limited action within a certain limit and boundary, or otherwise it would tend to another extremity. Camus proposed Mediterranean Thought with principle of balance, appropriateness and harmoniousness, which is regarded as a core of Resistance theory to develop his Resistance Theory. His Absurd Theory and Resistance Theory are logically consistent, and organically build up Camus’ unique Absurd Philosophy.As for how could philosophy be expressed in literature, Camus’ method or principle is to connect or integrate philosophy and literature by writing philosophic category as theme. Since Camus applied clear and self-conscious philosophic view to direct his literary writing, his works have profound philosophy nature and high abstractness in sense of literature, thereby have everlasting value and universal significance which surpass the times, history, society, nation, nationality and culture.The method of writing philosophic category as theme transfers philosophy makes philosophic views become theme of literature (literary works). Through visualized literary works, concrete literary images and lively literary language, Camus expressed, displayed expounded his reflecting, abstract and rational philosophic thoughts. Camus made his philosophic thought into themes in literary writing. Camus made his philosophic thoughts into themes, and the themes of philosophy are also one of his literary themes. By employing the philosophic category as theme as his basic means of conveying his philosophy, Camus made philosophy and literature complement with each other, conception and images bring out the best in each other, from which Camus gained the mutual pentration between philosophy’s literary practice and literature’s philosophic practice, as well as important practice and outstanding achievements in both fields of philosophy and literature. It may be concluded that, the method of writing philosophic category as theme, in a sense, connects, improves and integrates philosophy and literature, and provide one or more possibility for philosophy’s Expression in Lliterature.更多还原