【作者】 韩颖琦；

【导师】 汤哲声；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2008， 博士

【摘要】 本论文以“红色经典”为研究对象,着重探讨的是“红色经典”对中国传统小说叙事模式的继承和改写情况。在研究过程中,依据雷·韦勒克和奥·沃伦关于“外部研究”与“内部研究”的文学研究理论,构筑了本文的框架结构;并运用原型批评和叙事学的相关理论,对“红色经典”文本进行了细读与分析,同时也兼及了大众文化理论以及狂欢理论的相关方面。基于以上研究思路和研究方法,本文认为,在新中国成立前后、以毛泽东《在延安文艺座谈会上的讲话》(以下简称《讲话》)为创作原则的“红色经典”长篇小说,是在对“大众化”和“艺术化”双重标准的不断适应与调和之下,确立了自己的立足点的。具体来说,一方面,“大众化”在一定程度上不可避免地损害了文学作品的“艺术化”,使“红色经典”小说出现了符号化、模式化等倾向;另一方面,“红色经典”的模式化问题虽一再被评论界所诟病,却因为它契合了当时文学接受群体的整体水平和素质,而在读者群中广受欢迎和喜爱。本论文对这些在评论界和读者群中引起巨大接受反差的创作模式进行了综合和归类。全文分为五个部分:导论部分回顾了“红色经典”在不同阶段和时期的研究状况,在此基础上确立了本文的研究视角和研究方法,并从四个方面概括了论文的创新与贡献。第一章将“红色经典”置于俗文学视野下进行观照后发现,“红色经典”与文学源头的“俗”有着千丝万缕的联系,具体表现在“红色经典”具有深厚和扎实的民间根基、“红色经典”的传奇故事具有通俗文学趣味性的核心特征、“红色经典”具有模式化、狂欢化等大众文化气质;同时指出,这些特征的显现与《讲话》和“红色经典”话语权确立之间有密切联系。第二章对“红色经典”的情节模式进行了概括和总结,分别表现在:在中国传统文学重数传统的影响下,“红色经典”建立了以“三”为核心的数字模式;“红色经典”继承了传统小说“逼上梁山”和“两军对垒”的书写模式;源远流长的复仇文学传统也在“红色经典”中得到继承和改写;传统的成长模式在新时期见证了“红色经典”中工农兵主体人物的成长历程。第三章探讨了“红色经典”的人物模式,“红色经典”对传统的英雄母题进行了改写,传统的具有“感生与异貌”特征的神化英雄,在“红色经典”中成为半人半神的工农兵英雄;群体化是传统小说的一个叙事模式,“红色经典”的人物塑造也出现了明显的群体化特征,不过这种群体特征被极端放大后对人物的个体性造成了很大程度的挤压;脸谱化是中国传统文学的重要表现手法,“红色经典”的脸谱化倾向明显,不过在一些塑造得相对成功的小人物身上有所纠正;忠奸对立是中国传统文化对人物进行分类所采用的道德标准,在此影响下,“红色经典”人物谱系中的叛徒一类,在其还没成为叛徒之前,就已经显现出某些征兆,好像天生具有“反骨”一般,这无疑是传统模式下的书写策略。第四章从场景设置的角度,揭示了“红色经典”与传统小说模式之间的联系,具体表现在暴力描写传统、饮食描写传统和情欲描写传统等方面。“红色经典”在对这些传统手法挪用的时候,也将它们重置于“革命”的语境之下,从而显现出新的特点和新旧纠缠的痕迹;在语言场中,既有无声的语言场也有有声的语言场,透过这些有着浓厚乡土特征的具有狂欢性质的语言表层,我们看到的是隐遁在其后的话语权。更多还原

【Abstract】 Taking the“Red Classics”as the research subject, this thesis aims to probe into the inheritance and recomposition of Chinese traditional novels’narrative mode. According to the literary research theories of Rene Wellek and Austin Warren about“internal research”and“external research”,the author builds up the frame structure during the process of the research. The thesis gives thorough reading and analysis for the texts of the“Red Classics”,applying prototype criticism and relevant narrative theories as well as related aspects of mass culture theory and carnival theory.Based on the above-mentioned research thought train and methods,the author believes that around the founding of the People’s Republic of China, the saga novels of“Red Classics”,with the Speech at Yan’an Forum on Literature and Art by Mao Zedong as their writing principles,establishes their foothold through incessant adaptation and regulation with double standards of“Popularization”and“Artistry”. Specifically speaking,on the one hand,the“Popularization”, to some extent,inevitably destroys the“Artistry”of literary works,which makes“Red Classics”novels tend to be symbolized and patternized;on the other hand,although patternization of the“Red Classics”has been denounced by critics,it is popular with the public because it corresponds with the overall literary level and quality of readers.The thesis synthesizes the writing modes which have caused sharp reception contrast between the critics and readers and classifies them in five sections. The guiding part reviews the research situation of“Red Classics”in different phases,based on which the research perspective and methods are established,and the innovation and contribution of the thesis are summarized in four aspects.The first chapter gives a contrast between the“Red Classics”and the popular literary and it is found that the“Red Classics”has countless ties with the vulgarization of the literary source. From the ties,we can see that the“Red Classics”is deeply and firmly rooted among the popular,the legends of“Red Classics”feature interesting reading which is the key characteristic of popular literature,and the“Red Classics”has features of the mass culture such as patternization and carnivalization. This chapter also indicates the close relationship between the representation of these characteristics and the discourse right of“Red Classics”. The second chapter summarizes the plot modes of“Red Classics”as follows:influenced by the tradition of Chinese traditional literature,in which the number is emphasized,the 3-centered numeric mode has been set up in“Red Classics”; the“Red Classics”has inherited the writing modes of“being forced to revolt”and“two parts ready for fight”; the long-standing revenge literary tradition has been inherited and recomposed in“Red Classics”; the traditional growth mode has witnessed the major characters’growing experience in the new era ,such as workers,peasants and soldiers. The third chapter discusses the character modes in“Red Classics”, in which the traditional heroic theme has been rewritten. In tradition,there are some apotheosized heroes with“induction and strange feature”,who become heroes of half human being and half deity workers,peasants and soldiers. The multitude is one narrative mode of traditional novels. The characters created in“Red Classics”take on obvious multitudinal characteristics, which are magnified extremely and squeeze characters’individuality. Formulization is one important expressive technique of Chinese traditional literature. The tendency of being formulaic is evident in“Red Classics”. But some successfully molded small potatoes are corrected. The opposition between the loyal and the evil is the moral standard of characters’classification in Chinese traditional culture. With this influence,before the change into betrayers in the“Red Classics”,there will be certain omens as if these characters are born as conspirators and rebels. It is undoubtedly the writing strategy in traditional mode. The fourth chapter presents the mode relationship between“Red Classics”and traditional novels,mainly by describing tradition of violence,diet and flesh and blood and so on. The appropriation of these traditional techniques is in the context of revolution so as to represent new characteristics and marks of entanglement between the new and the old. In language field,it can be both voiced and voiceless. Permeating these strong boorish characteristics of language surface with carnival quality,we can see the recluse of discourse right .更多还原