論劉震云小說(shuō)的意象世界
發(fā)布時(shí)間：2019-01-27 10:39
【摘要】：劉震云是中國(guó)當(dāng)代文壇上“新寫(xiě)實(shí)”派的主要代表作家之一,他的小說(shuō)被譽(yù)為“日常的荒誕敘事”的典型代表。在當(dāng)代文學(xué)評(píng)論中,文學(xué)評(píng)論家多側(cè)重于對(duì)劉震云作品現(xiàn)實(shí)意義的解剖,對(duì)文本本身的語(yǔ)言性研究較少涉及。在劉震云的作品中,意象的穿插與鋪排不僅豐富了文本本身的語(yǔ)言性,也建構(gòu)和拓展了文本的藝術(shù)空間,在藝術(shù)審美中升華了文本的主題,具有十分重要的研究?jī)r(jià)值與意義。本文從劉震云小說(shuō)的意象類(lèi)型、小說(shuō)中的意象藝術(shù)建構(gòu)以及小說(shuō)意象的文本意義三方面來(lái)闡述劉震云小說(shuō)的意象世界。在第一部分,本文把劉震云小說(shuō)文本意象類(lèi)型劃分成標(biāo)題意象、物象意象和抽象意象三種。劉震云小說(shuō)的標(biāo)題極具意象性,它既是文本的中心意象,也是劉震云意象表達(dá)中最不同于其他作家的部分,他在對(duì)作品標(biāo)題的設(shè)置上,摒棄空靈混沌的抽象概念,而是選擇直截了當(dāng)?shù)纳盍?xí)語(yǔ),把人們?cè)谌粘Ｖ凶顬楦型硎艿恼Z(yǔ)言直接設(shè)為作品的標(biāo)題,巧妙地化解了文本世界與生活世界的主體隔閡,使得作品中的真實(shí)在標(biāo)題的意象里獲得意義的澄明。物象意象是劉震云小說(shuō)中數(shù)量最多、關(guān)系最復(fù)雜、分布最廣泛的意象群,物象意象使得劉震云小說(shuō)中那些審美元素直接脫離了最初的純文本意象,使這些審美元素更加接近于作家想要表達(dá)的日常真實(shí)世界。以“說(shuō)話(huà)”意象為代表的抽象意象,是劉震云小說(shuō)中最具特色的一種意象,也是本文的創(chuàng)新點(diǎn)之一。劉震云的《一句頂一萬(wàn)句》、《一腔廢話(huà)》等文本中人物關(guān)系的建立與破裂,都是因“能說(shuō)上話(huà)”或是“說(shuō)不上話(huà)”這些標(biāo)題意象而生成與發(fā)展的。劉震云小說(shuō)的意象藝術(shù)建構(gòu)是本文的第二部分,本文將劉震云意象的藝術(shù)建構(gòu)劃分為意象化敘事、意象化人物塑造、意象化主題三個(gè)結(jié)構(gòu)來(lái)討論。意象化敘事是劉震云小說(shuō)中意象處理在文本上最直接的表現(xiàn),敘事手法和敘事特征都由一個(gè)個(gè)意象串聯(lián)起來(lái)。意象化人物塑造是劉震云小說(shuō)中意象帶給讀者的直接觀(guān)感,讀者通過(guò)文本中所塑造的人物形象來(lái)進(jìn)行意象主題的分析,人物性格決定人物命運(yùn),人物命運(yùn)揭示生存現(xiàn)狀,生存現(xiàn)狀烘托文本主題。劉震云小說(shuō)中意象的文本意義主要表現(xiàn)在對(duì)人情關(guān)系的解構(gòu)、對(duì)奴性的批判以及對(duì)權(quán)力的異化三個(gè)方面。劉震云小說(shuō)中解構(gòu)了浪漫主義作家對(duì)于人情關(guān)系的贊美,用現(xiàn)實(shí)冷峻的筆調(diào)引領(lǐng)讀者感悟在現(xiàn)實(shí)日常生活中,在嚴(yán)峻的生存狀態(tài)情勢(shì)下所逼迫的人情冷暖。同時(shí),劉震云對(duì)中國(guó)社會(huì)中底層小人物的奴性進(jìn)行了現(xiàn)實(shí)的批判,對(duì)在權(quán)力壓迫下異化的人情和人性進(jìn)行了深度的思考和解剖。
[Abstract]:Liu Zhenyun is one of the main representative writers of the "New realism" school in the contemporary Chinese literary world, and his novels are regarded as the typical representatives of the "daily absurd narration". In contemporary literary criticism, literary critics mostly focus on dissecting the realistic significance of Liu Zhenyun's works, and less on the linguistic study of the text itself. In Liu Zhenyun's works, the insertion and arrangement of images not only enriches the language of the text itself, but also constructs and expands the artistic space of the text, and sublimates the theme of the text in the art aesthetics, which has very important research value and significance. This paper expounds the image world of Liu Zhenyun's novel from three aspects: the type of image in Liu Zhenyun's novel, the artistic construction of image in the novel and the textual significance of novel image. In the first part, the text image types of Liu Zhenyun's novels are divided into three types: title image, object image and abstract image. The title of Liu Zhenyun's novel is very imaginative. It is not only the central image of the text, but also the most different part from other writers in the image expression of Liu Zhenyun. In setting up the title of his works, he abandons the abstract concept of emptiness and chaos. Instead, they choose the direct idiom of life, set the language that people most sympathize with in daily life directly as the title of the work, and deftly dispel the barrier between the text world and the subject of the life world. So that the truth in the work in the title of the image of the meaning of clarity. Image is the most abundant, complex and widely distributed image group in Liu Zhenyun's novels. The image of object image directly separates those aesthetic elements from the original pure text image. To bring these aesthetic elements closer to the everyday real world that the writer wants to express. Abstract image represented by "speech" image is one of the most distinctive images in Liu Zhenyun's novels and one of the innovations of this paper. The establishment and rupture of the relationship between the characters in Liu Zhenyun's "one sentence top ten thousand sentences" and "one cavity of nonsense" are all generated and developed by the title images of "can speak" or "can't talk". The artistic construction of Liu Zhenyun's novel image is the second part of this paper. This article divides the artistic construction of Liu Zhenyun image into three structures: image narrative, image character shaping and image theme. Imagery narrative is the most direct expression of image processing in Liu Zhenyun's novels, and narrative techniques and narrative characteristics are connected by images one by one. Imago character shaping is the direct perception of the readers brought by the images in Liu Zhenyun's novels. The readers analyze the image themes through the characters created in the text. The characters' character determines the fate of the characters, and the fate of the characters reveals the present situation of existence. The status quo of existence fosters the theme of the text. The textual significance of the imagery in Liu Zhenyun's novels is mainly manifested in the deconstruction of human relations, the criticism of servility and the alienation of power. Liu Zhenyun's novels deconstruct the Romantic writers' praise of the human relationship and lead the readers to realize the cold and warm human feelings forced in the severe living conditions in the real life. At the same time, Liu Zhenyun criticizes the servility of the underclass in Chinese society, and deeply ponders and dissects the alienation of human feelings and human nature under the oppression of power.
【學(xué)位授予單位】：華中科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：I207.42
本文編號(hào)：2416181
[Abstract]:Liu Zhenyun is one of the main representative writers of the "New realism" school in the contemporary Chinese literary world, and his novels are regarded as the typical representatives of the "daily absurd narration". In contemporary literary criticism, literary critics mostly focus on dissecting the realistic significance of Liu Zhenyun's works, and less on the linguistic study of the text itself. In Liu Zhenyun's works, the insertion and arrangement of images not only enriches the language of the text itself, but also constructs and expands the artistic space of the text, and sublimates the theme of the text in the art aesthetics, which has very important research value and significance. This paper expounds the image world of Liu Zhenyun's novel from three aspects: the type of image in Liu Zhenyun's novel, the artistic construction of image in the novel and the textual significance of novel image. In the first part, the text image types of Liu Zhenyun's novels are divided into three types: title image, object image and abstract image. The title of Liu Zhenyun's novel is very imaginative. It is not only the central image of the text, but also the most different part from other writers in the image expression of Liu Zhenyun. In setting up the title of his works, he abandons the abstract concept of emptiness and chaos. Instead, they choose the direct idiom of life, set the language that people most sympathize with in daily life directly as the title of the work, and deftly dispel the barrier between the text world and the subject of the life world. So that the truth in the work in the title of the image of the meaning of clarity. Image is the most abundant, complex and widely distributed image group in Liu Zhenyun's novels. The image of object image directly separates those aesthetic elements from the original pure text image. To bring these aesthetic elements closer to the everyday real world that the writer wants to express. Abstract image represented by "speech" image is one of the most distinctive images in Liu Zhenyun's novels and one of the innovations of this paper. The establishment and rupture of the relationship between the characters in Liu Zhenyun's "one sentence top ten thousand sentences" and "one cavity of nonsense" are all generated and developed by the title images of "can speak" or "can't talk". The artistic construction of Liu Zhenyun's novel image is the second part of this paper. This article divides the artistic construction of Liu Zhenyun image into three structures: image narrative, image character shaping and image theme. Imagery narrative is the most direct expression of image processing in Liu Zhenyun's novels, and narrative techniques and narrative characteristics are connected by images one by one. Imago character shaping is the direct perception of the readers brought by the images in Liu Zhenyun's novels. The readers analyze the image themes through the characters created in the text. The characters' character determines the fate of the characters, and the fate of the characters reveals the present situation of existence. The status quo of existence fosters the theme of the text. The textual significance of the imagery in Liu Zhenyun's novels is mainly manifested in the deconstruction of human relations, the criticism of servility and the alienation of power. Liu Zhenyun's novels deconstruct the Romantic writers' praise of the human relationship and lead the readers to realize the cold and warm human feelings forced in the severe living conditions in the real life. At the same time, Liu Zhenyun criticizes the servility of the underclass in Chinese society, and deeply ponders and dissects the alienation of human feelings and human nature under the oppression of power.
【學(xué)位授予單位】：華中科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：I207.42
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