【作者】 樊燕；

【导师】 曹惠民；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2009， 博士

【副题名】二月河、高阳清代历史小说比较研究

【摘要】 本文是首篇以比较的视角对二月河和高阳进行专门研究的博士论文,分别从历史小说取材、历史氛围营造、历史小说叙事及历史小说与文化四个方面,对二月河、高阳的清代历史小说进行了新的探索和研究。第一章主要是从历史小说取材的角度展开论述。论述了二月河的“落霞”系列何以选择以康熙、雍正和乾隆为创作题材的原因所在。对高阳历史小说进行了全面整理,确认了以清代为背景的小说,并指出清史小说在高阳历史小说中的重要地位。高阳、二月河以清代历史为表现对象的小说,由于作家历史观念的不同,致使他们在对历史悬案进行文学审理后,给出了不同的审美结果。二月河、高阳个性化的艺术想象,为人们全面了解清代历史提供多种可能性。第二章主要探讨的是历史氛围的营造问题。历史小说主要描写的是已经消失了的、没有声音和图像记录的社会生活,如何利用各种留存下来的文字材料,再以文字为原料,构造出一副既真实又空灵的历史图景,是所有历史小说家都会面临的难题。本文认为人物言谈、空间描写、容貌服饰描写,是历史小说家营造历史氛围的三要素。二月河始终以读者作为营造历史氛围的着眼点,注重人物言谈的政治性、通俗性,注重空间描写与自然环境的结合,对人物服饰描写以粗笔勾勒为主,在细节上出现了一些失误。高阳以细节描写见长,善于将历史人物的言谈与个人感受有机融合,注重对庭院及庭院建筑内部进行细致描绘,注重从人物身份的角度来描写服饰。通过比较,揭示出作家家庭、学识、个人经历、性别意识、地域特征等因素对历史小说细节描写的影响。第三章致力于二月河、高阳历史小说叙事风格的研究。本章着重探讨了二月河章回小说中的叙述人、插叙、预叙和追叙的特点。他的小说,加大了心理描写的力度,突出人物心理的渲染和表现功能,实现了文学和市场的有效对接,为传统文学样式的保留和发展做出了贡献。高阳的现代笔记体小说,是他对中国文人笔记的创造性转换。小说启用了一个满腹经纶有着“现代翰林”口吻的叙述人,叙述人是高阳清史小说中最自由、最活跃的叙事元素。对两种文体的叙事机制进行比较,旨在发掘出作家及其作品与文人传统之间联系。第四章主要研究地域文化、儒家文化与作家的关系。本章着重挖掘二月河历史小说与三晋文化之间的必然联系,挖掘高阳历史小说与以吴越文化为主体的江南文明之间的关系。高阳继承了乾嘉学派开创的考据传统,扩大了考证的范围,以小说成就考证,为扩大清代朴学的影响做出了贡献。二月河受儒家文化的影响,主要反映在人物形象的塑造上。他按照儒家“内圣外王”的理念塑造了勤政爱民的帝王,塑造了一批秉持“达者兼济天下,穷者独善其身”理念的知识分子。更多还原

【Abstract】 This thesis is the first research to compare Gaoyang and Er Yue He’s historical novels. The author studied their work from the perspective of novel’s historical atmosphere creation, narrativety, and historical novels and culture.The first chapter initiates the discussion from the "Luo Xia" series of Er Yue He, decribes why Er Yue He selected Kangxi, Yongzheng and Qianlong themes for his creative novels background. The author made a full survey of Gaoyang’s historical novel and selected his novels which use the Qing Dynasty as background, and noticed those novels play an important role in Gao’s works. Although both Gao and Er like Qing Dynasty histrory, because of the historical concept difference of the two writers, the novel’s outcome is totally different. On the other hand, they personalized story characters provide a wide range of possibility for people to fully understand the Qing Dynasty history.Chapter II discussed how Gao and Er creates the historical atmosphere in their novels. Since all historical novels describe social life which is far away from our reality, plus no sound and no image records, how to construct a picture which is both real and dense is a common obstacle for all the historical novelist. The author regards character speech, space description, costumes and appearance description are the most important three elements. Er usurally creates historical atmosphere from the readers point of view, pay attention to figures political conversation, popularrity, the combination of space and the natural environment description. He draw the characters costumes in a rough outlines, so some description details are wrong. Gao is good at detailed description. His novels show a good combination of the figures speech and his personal feeling, he describes figures clothes from the identity-oriented perspective. By comparison, the author revealed the writers family backgound, knowledge, personal experiences, gender awareness, geography other factors play an important role on the novels detail description.Chapter III is committed to Er and Gao’s narrative style. This chapter focused Er’s relator, narration interposed,prolepsis and analepsis. His novels emphasizes and highlights the psychological description. He made a good docking between literature and the market. And contributes the retaintion of the traditional literary style. Gao’s novel, is the creative conversion of the Chinese literature. His Novels argued a relator like a professor, which is the freest, most dynamic narrative element. The thesis compared narrative style to identify the contact between the literati tradition and them.Chapter IV studies the relationship of local cultures, Confucian culture and the Writers. In this chapter, it can be found that there is the inevitable contact between Er’s historical novels and Shanxi culture, between Gao’s historical novels and the Jiangnan culture. Gao inherited the method of“QianJia School”, expanding the scope of research, expanding the impact of the Qing Dynasty Confucianism. The influence of Confucian culture on Er, is reflected in the main character. In accordance with "the Saint inside and the King outside", Er’s novels delineated three marvelous emperors, and a group of intellectuals who uphold the principle of "Successful, they made all the world good. Poor, they made themselves alone good.".更多还原