【作者】 董正宇；

【导师】 范培松；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2008， 博士

【摘要】 现代湘籍作家,也就是通常所说的“文学湘军”,是五四新文学以来一个重要而独特的地域作家群体。论文“泛方言写作”研究视角的选择,既在于总体上分析、梳理现代湘籍作家采撷和运用方言进行文学创作的表现、动因、形式,归纳和总结泛方言写作独特的审美价值和作用,揭橥方言与地域文学、方言与地域作家群体的根性联系;也在于通过现代湘籍作家群体中代表性作家语言策略分析和文本细读,探寻他们文学语言创新的努力和贡献、共性和个性、困惑和局限,进而呈现现代湘籍作家文学创作的地域文化底蕴以及风格特征的语言之维,昭显新世纪文学语言创新路向。论文主体分为上、下两编。上编综合论,分别从现象、动因、形式和价值四个层面对现代湘籍作家泛方言写作现象进行综合分析、梳理和论述。首章“自发、自觉与自由——现代湘籍作家泛方言写作类型论”,主要是从历时流变以及共时聚合的角度,把现代湘籍作家的泛方言写作划分为自发、自觉和自由三种类型进行分别论述。次章“方言情结、楚辞传统与边缘策略——现代湘籍作家泛方言写作动因论”重追根溯源,文中提出,根深蒂固的“方言”情结、承续久远的方言写作传统以及自居边缘的文化策略是现代湘籍作家泛方言写作的三种主要动因。第三章“话语改造与方言出场——现代湘籍作家泛方言写作形式论”展开形式讨论。文中认为,现代湘籍作家泛方言写作话语改造及文本出场方式主要有三种:一是方言话语的原生态直接出场,独特的地域声音、别样的方言词汇和古朴的方言语法在文本中登场亮相;二是方言话语的间接性再现,有注释、加引号以及同义复现等多种出场方式;三是方言话语本身成为文本的表现对象。第四章“方言审美与言语效用——现代湘籍作家泛方言写作价值论”侧重方言话语出场意义和文学审美价值分析。文中认为,现代湘籍作家泛方言写作具有凸现湘楚语音形象、描摹湘地人物形神、揭橥湘楚文化神髓等多方面文学审美作用。下编为作家作品论,也设四章,对沈从文、周立波、韩少功、彭家煌、古华和何顿等现代湘籍作家,一一结合文本进行泛方言写作个案论述。第五章“语言视域中的‘湘西世界’——沈从文论”,从沈从文“乡下人”身份认同和语言湘西根性坚守出发,通过其寻求语言自我塑造语言形象的过程分析,并结合《萧萧》、《边城》两个代表性文本的细读,最终得出“湘西口语:沈从文创作的语言基石”的结论,肯定了沈从文对现代汉语文学建构的贡献。第六章“主流话语缝隙中民间话语的再现——周立波论”,结合时代文化语境,分析了周立波走上泛方言写作之路的过程,并通过东北方言写作的《暴风骤雨》和母语方言写作的《山乡巨变》两个文本的比较性论析,指出了前者的缺失,肯定了后者回归母语的成功经验。第七章“文化寻根中的语言路向——韩少功论”,对韩少功文化寻根中的语言路向主要是泛方言写作的历程进行了梳理,同时以《马桥词典》为例,论述了韩少功对既有泛方言写作形式的突破和新形式的当下意义。第八章“泛方言写作的多向度拓展——彭家煌、古华、何顿合论”,以《怂恿》《芙蓉镇》、《我们像野兽》三个文本为个案,对彭家煌、古华、何顿的泛方言写作进行了分别论述。更多还原

【Abstract】 Modern Hunan writers, commonly known as the“Literature Xiang army”, are important and unique regional writers since the New Literature of May 4th Movement. This dissertation "Pan-dialectal Writing" is written in the following perspectives: it analyses generally the phenomenon, cause and form in the Hunan writers’collecting and using of the Hunan dialect in their writing; it also summarizes the special aesthetic value of the dialectal writing and the basic relationship between the dialect, the regional literature and the regional writer groups as well; by perusing and analyzing the language strategies of the magnum opus of Hunan writers, this dissertation explores their attempt, contribution, the similarity and the characteristic, the perplexity and limitation in the innovation of the literary language, further showing the cultural deposits and the language features of the Hunan writers, and then directs the innovative way of the literary language in the new century.The dissertation is divided into two parts. The first part generally analyses the phenomenon, cause, forms and value of the dialectal writing of the Hunan writers: the first chapter, Spontaneity, Self-consciousness and Originality--- the Analysis of the Types of the Pan-dialectal Writing of the Hunan Writers, has discussions respectively on three types, the spontaneity, self-consciousness and originality from the perspectives of the diachronic development and the synchronic totality. The second chapter, The Dialectal complex, Tradition of the Odes of Chu and Marginal Strategy--- The Discourse on the Cause of the Pan-dialectal Writing of the Modern Hunan Writers, traces to the source and discusses the deep-rooted dialectal complex, the old tradition of the dialectal writing and the cultural strategy of self-marginalize is the three major causes of the dialectal writing of the modern Hunan writers. The third chapter, The Transform of the Discourse and the Appearance of the Dialect--- The Discussion on the Forms of the Pan-dialectal Writing of the Modern Hunan Writers, points that there are mainly three ways in the discourse transform and the appearance of the dialect: firstly, the dialect appears originally, presenting its regional sound, unique dialectal vocabulary and the traditional dialectal grammar in the text; secondly, the dialect is presented indirectly by the ways of notes, quotations and repetitions. Thirdly, the dialect itself becomes the object of the text. The fourth chapter, The Dialectal Aesthetics and the Discourse Utility--- the Axiology of the Pan-dialectal Writing of the Modern Hunan Writers, analyses the value of the appearance of the dialect and that of the literary aesthetics, which is expressing the vocal figure, the features of the characters and cultural soul of Hunan.The second part consisting of four chapters has case studies to dialectal writing of the works of the modern Hunan writers, Shen Congwen, Zhou Libo, Han Shaogong, Peng Jia-huang, Guhua, Hedun and so on. The fifth chapter, the West Hunan in the area of language--- The discussion on Shen Congwen, peruses the works of”hsiao-hsiao”and“Bian Cheng”, analyzing how Shen Congwen portrays his characters with the language by identifying himself as the provincial and insisting on the west Hunan dialect. This chapter confirms the contribution of Shen Congwen to the modern Chinese literature and that the west Hunan dialect is the language footstone of creation of Shen Congwen. The sixth chapter, The Appearance of the Folk Language in the Lacuna of the Main Stream of Languagethe---The Discussion on Zhou Libo, analyses the process of Zhou Libo’s dialectal writing in the context of time and culture. By comparing the text of“The Hurricane”(which is written in the northeast Chinese dialect)and“great changes in a mountain village”(which is written in his native dialect), this chapter points the faults of the former and confirms the success of the later. The seventh chapter, The Language Way in the Cultural Source-tracing---The Discussion on Han Shaogong, analyses the process of the pan-dialectal writing of Han Shaogong in his tracing of cultural source, and in the studying his work“Maqiao Dictionary”,this chapter discusses Han’s breakthrough to the existing pan-dialectal writing and the value to this new form. The eighth chapter, The Multi-direction Development of the Pan-dialectal Writing--- The Discussion on Peng Jiahuang, Guhe and Hedun, studies“Instigation”, A Small Town Called Hibiscus“and“We Look Like The Wild Animal“and discusses respectively the pan-dialectal writing of these three writers.更多还原