【作者】 项静；

【导师】 蔡翔；

【作者基本信息】 上海大学 ， 中国现当代文学， 2009， 博士

【摘要】 在本论文的阐述中,“西方”不仅是相对于东方及其文化或文明而言的对象或客体,而且是十九世纪以降中国和世界置身时势的一个内在的、具有相当支配性的要素。论文以1980年代中西碰撞的历史情势下,部分文学作品中的现代故事为主要研究对象,选取了海外(主要是西方国家)游记文学,王蒙、张贤亮、高晓声等人的小说,寻根文学中的韩少功、王安忆部分作品,以及《河殇》、陈丹燕的《慢船去中国》为主要个案,从不同角度探讨了1980年代西方参照系下的中国现代故事的讲述方式,不同叙事资源的处理和整合,遮蔽与凸显,探讨现代故事讲述的多种可能性,以及不同的叙事资源此消彼长的动态关系。对于1980年代现代故事的几种讲述方式的重新考察,绝对不是要否认“现代”的意义,并试图通过某种方法找出一个单纯的“中国方式”的现代故事,而是探讨在讲述现代故事中如何处理各类叙事传统和资源、现实,以期给当下的文学症状带来一点启示。论文第一章以1970年代末1980年代初期的西方游记为研究对象,中国作家通过对西方的“游历”,“看见而描绘”的西方世界,确立了本文的基本问题:现代化与西方化界限逐渐模糊,曾经作为我们另一个建立主体性的他者——第三世界淡出视野。在第二章中,主要讨论在西方空间出现在我们的文学叙述视野以后,当代作家们如何讲述一个西方在场的故事,他们如何以西方为参照物想象、堪认中国的未来空间,本章主要以几个有重要影响的小说家王蒙、张贤亮、高晓声等为例子,重新梳理中国“自我”的未来想象。第三章主要解决现代故事的讲述中,除了物质现代化,需要怎样的文化、政治空间。第四章分别以《河殇》、《慢船去中国》为分析对象,阐释1990年代对1980年代的“离开”,这是不同于1980年代的“中国”故事,是我们讲述中国现代故事时需要反思的重要趋势。更多还原

【Abstract】 In this paper’s elaboration,“the West”means not only an object with respect to the“East”and its culture and civilization, but also an internal and rather dominant factor during the age when China and the world existed since the 19th century. This thesis takes some literary works’modern stories as the main research object under the historical circumstance of collision between China and the West in 1980s. I select the overseas ( mainly in western countries) travel literature, the novels of Wang Meng, Zhang Xianliang, Gao Xiaosheng and so on; partial works of "Roots" Literature such as works of Han Shaogong, Wang Anyi; and River Elegy, Chen Danyan’s Slow Ship Goes to China as the main case to discuss narrative modes of Chinese modern stories from the different angles under the frame of reference of the west in 1980s’, the disposition and conformity of different narrative resources, camouflage and highlights; various possibilities of modern stories narration, as well as the dynamic relation of these different narrative factors. Reviewing of the modes of modern stories narration in the 1980s is not absolutely to deny the value of the“modern”or attempt to discover the purely“Chinese”modern story, but expects it can bring some enlightenment to the present literature’s symptoms through the process of hackling and discussion toward how to deal with kinds of traditions and resources, and the realities.The first chapter takes the western travel notes from the late 1970s to the early 1980s’ as the object, and makes a simple summary of them, and carries out a core question of this thesis, that is to say, Chinese writers’geographical peregrination toward West, and then the western world image by way of“see and describe”, and establish a basic issue: the Third World, which once we considered as another“other”being used to identify subjectivity, is out of vision. The second chapter mainly discusses after the Western sphere appear within the scope of our literature narration, how the contemporary authors tell a story with the west being at present, how they take the West as the frame of reference, how to imagine and identify the future space of china. This chapter I take several influential novelists for example-Wang Meng, Zhang Xianliang, Gao Xiaosheng and so on, to rearrange future image of Chinese“self”. Third chapter discusses what kind of culture and political space we need besides the material modernization.The fourth chapter respectively takes the River Elegy and Slow Ship Goes to China as the analysis object explaining the“departure”of the 1980s from the 1990s, which is different from“China”story in the 1980s, and this way of analysis is the main issue that we should reflect when we are telling Chinese modern stories.更多还原