【作者】 岳峰；

【导师】 方汉文；

【作者基本信息】 苏州大学 ， 比较文学与世界文学， 2012， 博士

【副题名】以康拉德、莱辛、奈保尔为中心

【摘要】 在英国文学书写史上，英国作家对前殖民地非洲表现了非常浓厚的兴趣，甚至于有很多英国作家有着强烈的“非洲情结”，尤其是20世纪以来的英国小说家笔下的“非洲形象”建构格外引人注目。20世纪英国小说中关于非洲题材的叙事连绵蜿蜒，从殖民时期的康拉德，一直延伸到后殖民时代的莱辛、奈保尔等，蕴涵其中的帝国主题一直贯穿至今，尤其近十年来以非洲形象作为书写对象的作家屡获诺贝尔文学奖，这都表明了20世纪英国小说中的非洲形象建构作为一个研究对象的学术价值愈发突出。与18、19世纪那些极力渲染非洲异域风情、大肆鼓吹殖民扩张的冒险小说不同，20世纪以来伴随日不落帝国的逐步衰败，以康拉德、莱辛、奈保尔为代表的英国作家更关注西方白人无止境的物质诉求下的殖民欲望与崇尚殖民地原始面貌之间的冲突，西方知识分子已经看到工业文明带来的而且已经逐渐加深的种种危机。象征欧洲文明的西方白人在非洲丛林里所遭遇的种种内心考验的心路历程，成为大英帝国作家的主要叙事中心。非洲经历了意义的颠覆和重组，已不仅仅具有“原始”、“落后”等特征，成为一个渗透着英国小说家的意识形态的、被刻意描述为非欧洲的“他者”世界。20世纪英国小说中呈示的非洲形象绝非事实的非洲，是英国文化在二元对立原则下想象“他者”的方式，是英国人塑造与完善自我形象不可或缺的参照系，换言之，在工业文明迅猛发展、人类传统道德面临重重危机的20世纪，英国小说家笔下的“非洲”在某种程度上已经成为其用异质文化语境来进一步考查西方文明实质的实验场所。康拉德、莱辛、奈保尔等英国小说家企盼粗犷强悍且散发出野性魅力的乌托邦化的非洲为身染沉疴的英国人开出一剂拯救的良药，以此来解决工业时代英国人的心理冲突和精神危机。小说中的非洲因此不过是一种载体，非洲形象建构也不过是小说家的“他者”想象、文化利用以及表达主题的一种手段。然而康拉德、莱辛、奈保尔的乌托邦叙事在非洲丛林里无法摆脱尴尬的命运，也造成了小说的文化逻辑与作者的主观意图的断裂，文化身份的嬗变最终使得非洲乌托邦在表层上是非政治的，其隐性层面上则最终折射出英国中心论、欧洲中心论。本文由七个部分组成。绪论部分在论述了本选题的研究意义后，回顾和分析了国内外关于20世纪英国小说中的非洲题材小说研究的历史和现状，以及国内20世纪英国小说中非洲题材小说研究存在的问题，提出本选题的研究思路和研究方法。第一章论述了20世纪以前的英国作家笔下的非洲形象书写，列举了莎士比亚、笛福的非洲形象建构，指出《奥瑟罗》中的奥瑟罗形象表现了文艺复兴时代莎士比亚的种族观，《鲁滨逊飘流记》中的鲁滨逊形象则表现了18世纪欧洲白人在“他者”环境中从自我分裂到自我弥合的过程。第二章聚焦于20世纪英国作家非洲题材小说中非洲形象的建构，分析了以康拉德、莱辛、奈保尔为代表的英国小说家在其非洲题材小说中是如何将非洲描述成与欧洲开化之地截然不同的“另类世界”的。这些小说家以其知识分子的良知发起对身染道德沉疴的欧洲白人在非洲丛林里的罪恶的批判，表现出这些作家超越其时代的人文思想。第三章分析了20世纪英国作家非洲题材小说中非洲形象的解构与重构。野蛮落后但又神秘莫测的非洲成为英国小说家寄托白人欲望最好的想象空间，成为净化白人灵魂的伊甸园。这种伊甸园般的非洲形象正是英国小说家通过小说主人公的心理投射机制的作用重新建构出来的。第四章论述了20世纪英国小说中非洲乌托邦的幻灭与英国小说家对帝国殖民在非洲的文化反思。英国小说家非洲叙事尽管在一定程度上突破了传统殖民叙事范畴，然而这种非洲乌托邦仅仅是小说家“拯救”的图解，最终无论在内容层面还是叙事层面都遭遇各种尴尬的命运。第五章论述了英国作家非洲题材小说中的欧洲中心主义和殖民话语，指出英国作家文化身份的嬗变对其创作的影响。小说家在其非洲题材叙事中对帝国主义批判的话语，最终只能被包容在帝国主义的话语体系之内。结语部分回溯本文的主要论点，指出20世纪英国小说家非洲题材创作背后体现的是非洲形象流变问题，正是在这种对“他者”形象的想象与异域形象的描绘中，英国作家不断体悟和更新着自我形象欲望，变化的不是非洲，而是对非洲的欲望。在非洲这个被英国作家幻化成为对身染沉疴的英国人进行“拯救”的具有特定道德伦理意义的虚构空间里，小说家在一定程度上反思了殖民者与被殖民者的关系，小说造成的客观效果是开创了文化相对主义之先风，然而英国作家的双重文化身份注定了这种非洲乌托邦本质上是一种资产阶级自由主义和人道主义者对工业文明带来的种种不“和谐”进行补救的幻想。英国小说中非洲形象的构建最根本的出发点依然是为了考察英国人的心路历程，是为了更好地塑造与完善英国人自我形象。更多还原

【Abstract】 In the history of English literature, many writers have a strong "Africa complex" andan intense interest in the pre-colonial Africa, especially in the image construction of Africasince the twentieth century. Their novels about Africa enrich the imperial theme fromConrad of the colonial period to Lessing and Naipaul of the post-colonial era. Due to thefact that the authors of this area always won the Nobel Prize, there appears a growingacademic care at present.Different from those who tried to render Africa exoticism and colonial expansion intheir adventure novels, Conrad, Lessing and Naipaul, having seen all sorts of the crisis thatresults from industrial civilization, begin to pay more attention to the conflict between thewestern endless colonization under the call of material appeal and the avocation of thepreservation of the colonial primitive nature when the “sun-never-set” empire was on thewane.In their works, all kinds of the heart test in the African jungle of those white men,symbol of European civilization, become the center of the narrative. The meaning of"Africa", having experienced subversion and reorganization, is not only with theconnotation of "primitiveness" and "backwardness", but also with that ofthe novelists’ ideology—a non-European "other" world.The image of Africa is unreal in the British novels of colony and post-colony. It is"the other" fashion of British culture in accordance with the principle of binary opposition,and a new reference system of self-perfection of the Englishmen. In other words, with therapid development of industrialization and the increasing human moral crises, Africa hasbecome a laboratory in a way to further examine Western civilization in the heterogeneousculture in the twentieth century.Conrad, Lessing, Naipaul and other British novelists hope a wild charm of "theUtopian Africa"to ease the English in their psychological conflicts and mental crises in the industrial age. The image of Africa in their novels is nothing but a carrier, an imaginationor a cultural utilization as well as a means of the theme representation.In the jungles of Africa, the Utopian narrative of Conrad, Lessing, and Naipaul,however, cannot escape from the failure and the disagreement between the novel culturallogic and the author’s subjective intention. Superficially apolitical, a Utopian Africa in factimplies a sense of British-or Europe-centered standpoint because of their culturalidentities.This paper consists of seven parts. The introduction one centers on the researchsignificance, the history and current situation of the research at home and abroad, theproblems, and the author’s thoughts and methods.Chapter One discusses the image of Africa before the twentieth century, exemplifyingShakespeare’s racism in Othello and Robinson’s image self-perfection in "the other"environment in the eighteenth century.Chapter Two focuses African image construction on the description, particularly byConrad, Lessing and Naipaul, of the "offbeat world" that differs from Europeancivilization, and on the criticism of the Western moral evils in the jungles from theconscience of the intellectuals.Chapter Three analyzes the deconstruction and reconstruction of the African image.Barbarous and mysterious Africa becomes the best place for the White in imagination topurify their souls. This Eden-like image of Africa is reconstructed by the protagonistpsychological projection mechanism.Chapter Four elaborates the disillusionment of African Utopia and the reflection onthe colonial culture. Though the narrative of the British novelist has a breakthrough in acertain degree, this Utopian Africa is just the novelist’s self-understanding, and it isdoomed to encounter various embarrasses in both content and narrative levels.Chapter Five is about Eurocentrism, colonial discourse, and cultural influence on thenovelists’ writing, which is never free from the control of the imperialist discourse.The conclusion reasserts the main arguments of this dissertation that the Britishnovelists’ creation in Africa presents a changed image: a renewed self-image after an innerexperience in an exotic and "the other" land. The double cultural identities of the writersshow that the African Utopia in nature is only an illusive remedy to cure the souls of theirpeople, though, to some extent, the novelists reflect on the relationship between the colonizer and the colonized, and make a start of cultural relativism in effect. Theconstruction of the African image in English novels stems from the examination of thementality of English nation, and it aims to form and improve the self image of Englishpeople themselves.更多还原