【作者】 张晓玥；

【导师】 朱栋霖；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2007， 博士

【摘要】 本文以中国当代小说为主要考察对象,立足文学作品,从心灵诗学的视角研究小说复调艺术。文章认为:文学是人的心灵的诗学;复调是文学所呈现的人的复杂而又变动不居的心灵状态,是心灵的表现与发现。小说心灵复调,核心在于情感与心理的复杂性、层次感与动态性,本质上是作家的自我精神对话,是作家的思想矛盾的表现,思想与情感的难以统一的表现,表层意识与心理潜流的错综纠结的表现。论文共分六个部分。导言阐述了复调文论的世界性影响,指出当下中国复调研究中的理论主体性缺失和审美缺席问题,提出复调文论研究应立足文学创作实践、加强理论自主性。第一章系统梳理了中国当代“复调”文论研究的历史、现状与走向。起点的选择,决定了国内以巴赫金理论为中心的文学复调研究格局。“昆德拉热”与“巴赫金热”在小说复调问题上的交汇,引发了一些新的思考。泛化与僵化是中国当代复调批评的基本态势。第二章深入探讨了巴赫金复调小说论的理论体系、核心与生成语境。巴赫金的复调小说理论建立在以强调思想意识主体性为核心的对话哲学基础之上,复调小说论是其思想对话论的一种延伸。过于强烈的理性介入使巴赫金曲解了陀氏小说。无视作家自我内部精神世界的复杂性以及小说人物心灵构成的多元性,造成其复调理论的片面性。巴赫金的理论建构,是社会历史批判意识与敏锐艺术感受力相碰撞的结果,这形成了其复调小说理论的复调性:在敞开思想的同时遮蔽心灵。这种现象的深刻启示是:无论是对文学作品的解读,还是对文学批评理论的“接受”,都需要展开心灵世界的丰富性的探询。第三章提出并论证了文学复调研究的原点与起点问题。发生学上同源共生现象,以及存在与接受方式上的同质性,决定了文学与音乐最内在的联结点在于人的心灵。对小说复调的讨论必需以此为中心展开。复调是本然性的人的心灵状态,包括内在构成论与现实生存论的双重意义。实现心灵的自由、探询并表现心灵朝向自由的过程中的复杂状态和多重可能性,是复调最高的美学意义。小说的心灵复调具有多元性、动态性与对话性三个特点。从内容结构、时态结构和关系结构三个向度,可以初步勾勒出小说心灵复调的艺术系统。第四章以白先勇和贾平凹的小说为典型个案,从个体隐秘心灵与社会历史关怀两个向度,讨论小说中的心灵复调艺术,前者侧重深层心理与小说复调的关系,后者侧重情感矛盾与小说复调的关系。白先勇的小说世界,是自我探索、自我挣扎和自我超越的心灵史。中短篇的“心灵镜像结构”和长篇小说的“情感心理复调型”,是白先勇杰出的审美创造,也是作家独特的自我心灵结构的折射。白先勇文学创作的基点,唯在心灵。建基于自我的心灵融汇中西、兼收古今,是白先勇的文学以及文化选择的根本立场。从转型期的“宏大”社会景观入手,在时代精神和情绪的把握中来表现自我的心灵,构成了贾平凹乡土书写的独特风貌。《秦腔》将不可逆转的传统乡土的消逝隐喻在无法弥合的家的分裂结构中,实现了20世纪以来中国文学“乡土—家园”母题的新的纵深透视。这是一部以再现为方式的表现型作品,是作家的一副身心分裂、情理对峙的自我精神图谱,形式上汲取了民间的传统艺术资源,以情带事、事中含情的叙情性是最突出的一点表现。小说的得与失,启示着中国乡土文学精神追求的方向:在心灵表现中抵达心灵发现。第五章从人的观念、小说精神论、小说艺术形式论三个方面讨论昆德拉关于小说复调的思考。存在现象学是昆德拉的思想基础、人的观念的核心,也构成了他认识人与世界的独特视野。这内化在他对小说复调问题的理论思考中。从文体的综合、叙述的变焦到情调的变奏,是昆德拉小说复调论由显而隐、由外及内的系统结构,渗透其中的深层思维特点是悖反错位,即复杂与简约、开放与集中、时间与空间、对位与错位的对立统一。从巴赫金到昆德拉,对小说复调的理解呈现出鲜明分野和根本转向,这意味着小说复调是一个没有被穷尽甚至永远也不可能被穷尽的审美命题。第六章以80年代以来大陆小说为主要对象,梳理分析了“多重叙述”和“错位叙述”两种复调型小说叙述的演变、类型、思维与特征。多重叙述包括“并置故事”和“多视角叙述”两类,其艺术思维有“重复性累积”、“对抗与互补的整合”、“置换与拆解”等多种。错位叙述重点讨论“儿童视角”和“傻子视角”两种。论述中运用比较研究的方法,贯彻形式分析与入学分析、文本分析与语境分析、个案分析与共性分析相结合的原则,并涉及了当代中国文坛一些重要作品和现象的重估。以此为基础,本章提出:小说是心灵的叙事,在形形色色的小说叙述现象背后,潜隐着的常常是种种复杂的心灵现象;人的心灵的复杂性和变动不居的状态,以及人对于自我心灵世界永无穷尽的探索欲望,决定了作为心灵叙事的小说在叙述形式上不断创新。更多还原

【Abstract】 Extending from the perspective of inner poetics, this dissertation tends to discuss the heteroglossia in Contemporary Chinese novels. Literature is essentially the psychological poetics of human beings. Heteroglossia is a complicated and flexible state of psychology conveyed by literature. The core of heteroglossia of novel lies in complexity and depth of emotion and psychology.As novel heteroglossia of soul world ,in essence ,it is contradictory representation of writer thought , it is differing representation of thought and feeling , it is entanglement representation of apparent consciousness of psychologic undercurrent.This dissertation consists of six chapters.The introduction throws light on the global influence of the theory of heteroglossia and points out the current dilemma in heteroglossia research in China: lack of theoretical subjectivity and absence of aesthetics.The first chapter systematically analysed history ,present situation and trend of criticism of heteroglossia in Chinese Contemporary.It is the location of standing point that decides the current setups of heteroglossia research centering on Bakhin’s theory in China. The upsurge of Kundera and Bakhin, joining at heteroglossia, has provoked some new thoughts. Generalization and mummification tend to be the basic situation of contemporary heteroglossia criticism in China.The second chapter study theoretical system ,core and linguidtic ambiance of the idea of heteroglossia of Bakhin. Heteroglossia of Bakhin bases on the dialogic philosophy taking ideological subjectivity as its core. Therefore, heteroglossia proves to be an extension of Bakhin’s theory of ideological language. Overstated rationalistic orientation accounts for Bakhin’s misinterpretation of Tolstoevsky’s novels. Bakhin’s heteroglossia is in some extent one-sided due to its neglect of complexity of the novelists’ inner world and the multiplicity of the character’s psychological world. Bakhin’s theory is the counter-effect of social-historical criticism and keen aesthetic perception, which duly explains the paradox in his heteroglossia: blocking psychology as well as opening mind. The enlightenment left here is whether it be an interpretation or theoretic criticism, a profound psychological exploration is essential.The third chapter put forword and demonstrate origin and standing point of heteroglossia of literature. Original Point, Standing Point and Tendency, extending from the perspective of the correlation of literature and music, aims to relocate the theoretical origin and standing point of heteroglossia on the basis of the criticism of heteroglossia from China and the West. Furthermore, a combing of the phenomenin and tendency of Chinese heteroglossia theory is also conducted here, combining accounts with criticism.Chapter four, coming from the innermost psychology of the self and the historical concern of the society, takes the novels of Bai Xianyong hand Jia Pingwa as case study to discuss the psychological heteroglossia in these novels. The former emphasize relationship of deeply psychology and heteroglossia of novels .The latter emphasize relationship of contradictory feeling and heteroglossia of novels.The narrative world of Bai Xianyong is in essence a psychological history of self-exploration, self-struggle and self-surmounting. The "psychological image structure" of his novelette and the "sentimental heteroglossia" of his novels project as his most outstanding aesthetic creation and the reflection of the novelist’s unique psychological structure as well. The innermost psychology is the origin of Bai Xianyong’s creative intuition. A perfect blend of the West and China, the modern and the ancient on the basis of his’ own psychological perception proves to be the foundation of Bai Xianyong’s cultural and literary orientation.Jia Pingwa’s unique creative feature lies in his presentation of the psychological world of the self in an atmosphere of society, especially fitting into the grand social situation in the turning period. Qin Qiang metaphorically blends the irreversible elapse of tradition into an irreconcilable fragmented structure of family, and in some degree achieves the new profound perspective in the theme of "native soil—home" in the 20^th century Chinese literature. This expressionistic novel in the shape of representation is the psychological pattern of the novelist himself, which shows a division of the physical self and the psychological self as well as a contrast between the mental self and the sentimental self. Stylistically, it derives a lot from the traditional artistic resources, which may show it best in its sentimental narration which well combines the narration with affection. The gain and loss of this novel grants enlightenment on the spiritual pursuit of Chinese native-soil literature: discover the inner world in the representation of psychology.Chapter five discuss heteroglossia of novels of Kundera from humanistic point of view, spiritual viewpoint of novels and artistic form of novels.Existential phenomenology stands as Kundera’s philosophical basis and the theoretical core of his humanistic point of view, which in due course contributes to his unique insight into human being and the world. Besides, it is also internalized in his contemplation on heteroglossia. With a comprehensive artistic style as well as multi-perspective narration, Kundera’s heteroglossia presents a systematic structure comprehending the visible and the invisible, the outer and the inner. However, the deep structure may be condensed into one feature -- paradox, which means a dialectical integration of simplicity and complexity, separateness and unification, time and space, location and dislocation. Form Bakhin to Kundera, an obvious demarcation and substantial turn has been marked in the theory of heteroglossia, which also explains that heteroglossia is an eternal aesthetic proposition exhausting interpretations from every side.Chapter six, taking mainland novels after 1980s as research object, combs and analyzes the derivation, typology, perspective features of two types of heteroglossia: "multiple narration" and "dislocation of narrative hierarchy". Multiple narration comprises "story juxtaposition" and "multi-perspective narration" and its artistic features lie in "repetitive accumulation", "integration of contrast and complementation" and "displacement and fragmentation". Dislocation of narrative hierarchy mainly discusses "the child’s perspective" and "the idiot’s perspective". The comparative approach is adopted here to implement a principle which well blends stylistic analysis with humanistic analysis, textual study with discourse analysis, case study with universality study. In addition, this part also involves the reevaluation of some significant works and literary phenomena in contemporary Chinese literature.According to the analysis and discussion above, this dissertation point out that fiction is the narration of psychology, revealing the complicated psychological condition hiding behind the various narrative surfaces. The complexity and flexibility of human’s innermost world, perfected with human being’s unexhausted exploratory desire into the psychological corner of self, promotes and gives initiative to the stylistic and narrative innovation in the fiction characteristic of psychological narration.更多还原