【作者】 祁黎；

【导师】 刘祥安；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2010， 硕士

【摘要】 本文研究的对象是抗战时期至五十年代小说中的喜剧性人物。在中国现代叙事进程中存在着这样一批人,他们不是时代的弄潮儿,也不是革命的对象,但是在具有先进性的“新人”看来,他们身上具有落后的因素,是被教育和说服的对象,他们面对时代变迁时常常诚惶诚恐、不知所措、笑话百出,这类人物作为现代装置中的“余数”,是中国现代国民建构主体的对象。小说中,对他们进行改造的策略是喜剧美学,通过喜剧性人物的塑造试图抹除这些“余数”身上不合时宜的东西,这是“现代性”的表现之一。但是,吊诡的是,这些喜剧性人物通身散发着殊异的魅力,可亲可近,可爱而深入人心。在深入人心,唤起同情的同时显得合格的“新人”们单调空洞乏味,透出一股解构的力量。本文通过文本细读的方式,试图从建构与解构这一悖论出发分析喜剧性人物在中国现代进程中的功能,以求获得新的认识。更多还原

【Abstract】 The object of this article are the theatrical figures who lived from Sino-Japanese War time to the 50s, neither of them are the helmsman in their time nor the target of the revolution. But some people who have the advanced thought at that time thought the theatrical figures are fallen behind should be educated and persuaded. These theatrical figures always felt fear , trepidation and made many ridicululous mistakes when they confronted the transformation of times. They played a role of the supernumerary in the modernization process and became the main target of the national construction. In the novles, the strategies what the writers used to reform the figures was comedic aesthetic, the writers want to dispel the untimely characteristic on the theatical figures, this method was one of the expression of modernization. However, it is strange that the theatrical figures had peculiar fascination, they are amiable, respectable and lovely. Compared with these theatical figures, the people who have the advanced thought seemed monotonous and boring. In this paper I will use the method of construction and deconstruction try to analyse the role of these theatrical figures by intensive reading in order to discover new things on this subject.更多还原