【作者】 汪家海；

【导师】 肖明翰；

【作者基本信息】 湖南师范大学 ， 英语语言文学， 2014， 博士

【副题名】《坎特伯雷故事》的对话性研究

【摘要】 被誉为“英语诗歌之父”的杰弗里·乔叟是英国中世纪著名作家。《坎特伯雷故事》是诗人的代表性作品；它集中世纪英语文学之大成,是一部奠定英语文学传统的百科全书式的文学杰作。作品自问世以来的几个世纪里,批评家们从不同角度对作品进行了阐释和解读。本文在前人研究的基础上,运用巴赫金对话诗学理论,结合新批评、叙事学、新历史主义、文化诗学等批评方法,通过对作品的复调性、狂欢化以及互文性等多种对话现象进行分析来探究作品的多元对话性质以及乔叟创作思想与艺术手法上的多元与创新。本论文由四个章节以及绪论和结语部分组成。绪论概述乔叟和《坎特伯雷故事》在英国文学史上的重要地位、研究价值和《坎特伯雷故事》在国内外的研究成果,论证运用巴赫金诗学理论和现代叙事理论分析研究《坎特伯雷故事》中多元对话特征的可行性,并简述论文的论点及各章节的内容与结构。第一章主要分析《坎特伯雷故事》的多元化特征。论文从《坎特伯雷故事》中叙事结构的多元化、叙述角度的多元化、叙事体裁的多样化以及主题思想的多元化四个方面进行论证,揭示出作品全方位多层次的多元化性质。诗人以中世纪朝圣框架叙述结构为主体,辅之以中世纪各种重要的叙述形式,使整部作品在叙述结构上呈现多元化特征；在叙述角度上,作品运用诗人乔叟、香客乔叟和香客群体三种叙事人称的转换,从不同叙述角度展开叙述,增强了诗作整体上的多元与对话特征。诗人在《坎特伯雷故事》中使用中世纪几乎所有重要的文学体裁,如浪漫传奇、市井故事、寓意故事、宗教故事等,而每一个文学体裁都有深厚的文学文化传统,因此体裁的多样化体现出作品中不同文化文学传统和思想观念的多元。最后,本章通过分析《坎特伯雷故事》中不同香客所讲故事体现的思想和价值观的矛盾和冲突来论证《坎特伯雷故事》主题思想上的开放和多元性。第二章致力于论证《坎特伯雷故事》的复调与对话性质。本章从对《坎特伯雷故事》中话语层面的微型对话分析入手,进而通过对香客们所讲故事的不同体裁之间的对话,《坎特伯雷故事》结构上的对话,以及作品思想文化上的对话来探究《坎特伯雷故事》的对话性。巴赫金认为,作品中众多各自独立而又不相融合的声音和意识组成真正意义上的复调。在《坎特伯雷故事》中,作者没有将自己的意识强加给香客-叙述者,没有让他们成为自己话语的传声筒。诗人笔下的香客来自当时不同的社会阶层,代表各自不同的阶级利益,他们拥有独立的主体意识并在叙述中表达不同的价值观念。乔叟将香客们各自讲述的故事结合在朝圣旅途中,通过他们的矛盾和冲突凸显他们之间的对话关系。第三章着重研究《坎特伯雷故事》的狂欢化性质。作为巴赫金对话理论的重要组成,狂欢化诗学倡导一种对话和平等的精神,一种人文主义精神理念。乔叟身处时代变革的年代,既受到中世纪狂欢化文学传统的影响,又深受意大利早期人文思想的熏陶,而这共同成就了他作品里体现的狂欢与对话精神。《坎特伯雷故事》中狂欢和对话正是通过其狂欢化社会语境、朝圣旅程的狂欢化、广场语言的狂欢化,以及言语风格上的狂欢化等方面充分体现出来。第四章主要探究《坎特伯雷故事》的互文性对话。本章运用互文性理论和巴赫金关于互文性对话的思想来探究《坎特伯雷故事》中的互文性,主要分析《坎特伯雷故事》与法国、意大利、古罗马以及宗教文学等中世纪欧洲主要的文化、文学传统及其代表流派、作家之间的互文对话,从而在文化、文学传统这一更深、更宽广的层面上研究《坎特伯雷故事》的多元对话。论文结语指出,《坎特伯雷故事》中的多元对话特征,即作品所蕴含的复调性、狂欢化、互文性等层面上的对话,实际上是中世纪英格兰多元文化社会以及中世纪英格兰文坛多元文学思潮的反映,具有深刻的文化和文学意义。更多还原

【Abstract】 Geoffrey Chaucer, honored as father of English poetry, is a distinguished medieval English writer. His representative work, The Canterbury Tales is an encyclopedic literary work that epitomizes the achievements of Middle English literature and lays the foundation for English literary tradition in the following centuries. Since its publication, The Canterbury Tales has attracted continuous attention and has been studied by critics and scholars from different perspectives and with different critical methods. On the basis of previous studies, this dissertation mainly applies Bakhtinian dialogical theory about polyphony, carnivalization and intertextuality, together with the New Criticism, Narratology, New Historicism and Cultural poetics, to make a systematical in-depth study of the plurality and dialogue in the text and to reveal the multiplicity and originality of Chaucer’s literary thought and artistic features.Besides the introduction and conclusion, this dissertation falls into four chapters. The introduction starts with a brief presentation of the great importance of Chaucer and The Canterbury Tales in English literary history and a review of earlier critical studies at home and abroad from which this dissertation particularly benefits. It also demonstrates the applicability of Bakhtinian theory and modern narrative strategy to this study of plurality and dialogue in The Canterbury Tales. Finally, it introduces the basic views, the content, and the structure of the dissertation.Chapter One discusses the plurality in The Canterbury Tales. It focuses on the multi-level narrative structure, the variety of narrative viewpoints, diversity of literary genres and multiple thematic concerns to reveal the essential nature of plurality of the text. The poet uses the pilgrimage as the main narrative structure as well as its narrative frame and many other medieval narrative forms so as to give a multi-level narrative structure to this masterpiece.The text makes a good use of different narrators, including Chaucer the poet, Chaucer the pilgrim, and the pilgrim-narrators, to narrate the pilgrimage and the stories from different perspectives, which significantly increases the plurality and dialogue of the work. Moreover, in the text, the poet employs almost all the major medieval literary genres such as romance, fabliau, allegory and religious narratives, behind each of which stands a long established tradition. Therefore the diversity of genres presents the plurality and interaction of different cultural and literary traditions and thoughts. The last part of this chapter analyzes the thematic plurality and openness through a discussion of the contradictions and conflicts in values among the stories by the pilgrims. Chapter Two aims to demonstrate the polyphonic dialogue in the text. This chapter starts from analyzing the micro-dialogue in narrative texture to the macro-dialogue between different genres, between narrative structures, and between different cultural and intellectual thoughts. Bakhtin thinks that a polyphonic dialogue takes place between independent, fully valued, and unmerged voices in a work. In this work, the author does not impose his idea upon those pilgrims who come from all walks of life, not treating them as his spokesman, but let them represent their own interests, express their own independent consciousness, and stand for their own values. Besides, Chaucer combines those stories by pilgrims with the interactions of the pilgrims on the pilgrimage. Through the contradictions and conflicts among those pilgrims, the text highlights their dialogic relationship.Chapter Three focuses on the analysis of carnivalesque dialogue in the text. As an important component of Bakhtinian theory, carnivaleque poetics advocates a kind of equal and dialogic spirit, a kind of humanist thought. Living in a transitional period of profound changes, Chaucer is not only influenced by medieval carnivalesque literary tradition, but also affected by humanist thoughts newly germinated in Italy, which together produce the carnival and dialogic spirit in his work.The carnivalesque dialogue of the text is fully presented in the carnivalized social context, the carnivalesque pilgrimage, the carnivalesque plaza language, and the carnivalesque features of those genres employed by different pilgrims in telling their stories.Chapter Four mainly explores the intertextual dialogue of the text. The chapter mainly employs intertextual theory and Bakhtin’s thinking about intertextuality to analyze the intertextual features in The Canterbury Tales, focusing on the intertextual dialogue between The Canterbury Tales and such major medieval European cultural and literary traditions as French, Italian, classic, and religious, and their representative schools and writers. Thus, the dissertation broadens and deepens its study of the plurality and dialogue of The Canterbury Tales on the level of cultural and literary traditions.The dissertation concludes that the plurality and dialogue of The Canterbury Tales, that is, the text’s polyphony, carnivalization, intertextual dialogue, by nature reflects the cultural plurality in medieval English society and different schools of literary traditions and thinking at that time and, therefore, have special cultural and literary significance.更多还原