《蛹》的狂欢化特征

发布时间：2018-07-08 14:43

本文选题：约翰·福尔斯 + 《蛹》　；参考：《扬州大学》2012年硕士论文

【摘要】：约翰·福尔斯是一位多产而又成功的英国作家。《蛹》是他最新也是最后一部小说。萨拉米(Mahmoud Salami)曾经说过：这部小说展示了福尔斯小说中最严肃的创作主题和最明了的创作理念。从主题到写作方法,这部小说都让读者眼花缭乱。许多学者都试图将它定于一隅却都无功而返。本文试图运用巴赫金的狂欢化诗学理论对其进行解读。首先,小说中女主人公瑞贝卡身份卑贱却勇于挑战父权和当时的主流社会价值观,并以自己的方式完成了“妓女一圣女”身份的华丽转换。狂欢化理论的精髓—颠覆精神——在她身上得到了完美的呈现。其次,小说中的小人物群体则以各自独有的方式对社会的既定准则给予嘲讽并揭露其虚伪和黑暗的一面。因为他们的存在,事实和真相变得扑朔迷离,所谓的真理也令人怀疑起来,一切绝对都转而成了相对。最后,小说创新性地将审讯记录、书信、杂志等不同体裁,拉丁语、威尔士语、法律用语等不同语言糅合在一起,完成了写作方法上的狂欢。这既是一场文本和语言的盛宴,也是小说中狂欢精神的另一种表现形式。本论文通过对小说中女主人公、小人物群体和写作方式的分析,将《蛹》界定为一部狂欢化小说。论文由引言、正文和结论组成,正文部分又分为三章。引言部分首先简要介绍约翰·福尔斯创作情况和《蛹》的主要故事情节；其次,扼要地综述了国内外学者对这部小说的研究状况；再次,对巴赫金狂欢化理论中的三个重要概念进行阐述,为后面各章的分析奠定基础；最后,对论文各部分内容安排做了介绍。第一章着重分析小说女主人公瑞贝卡身上充溢着的狂欢化精神。这种狂欢化精神主要体现为她对主流文化的蔑视和叛逆：皈依边缘化的震颤教,背叛父权专制的家庭,挑战以律师亨利为代表的中上流社会价值观。正因为如此,瑞贝卡这个传统意义上卑贱低下的妓女,在福尔斯的笔下却逐渐向读者呈现出她可贵可敬的一面。这种“妓女一圣女”的转变展现了男权社会中女性身上所蕴含的颠覆力量。也正是在这种不断的颠覆中,一切成规都只具有相对性,都可能向相反的方向发展和转化。小说标题“蛹”正是提醒我们“一切具象的丑都有转换成抽象的美的可能性”。第二章聚焦于小说中的小人物群体。福尔斯在《蛹》中塑造了一系列边缘化小人物(如傻瓜、流氓等)。这些小人物其实并非无足轻重,他们以各自的方式背离社会的既定准则和陈规陋俗,对一切传统、权威和神圣的东西进行调侃和嘲讽。在福尔斯笔下的小人物群体中,还有一种特殊的类型,他们在诸多方面呈现截然相反却又不可分离的特征,构成了“成对”的形象。这些人物形象在对比和冲突中展现了他们身上蕴含的狂欢特质,进而揭示了真理的相对性。第三章主要从写作手法上探讨如何凸显和强化人物的狂欢化特质。作者将不同的文本样式(如法律文书、审讯记录、信函、报刊文章等)揉入小说叙事中,在文本层面上体现了多元包容的狂欢精神。此外,《蛹》在语言上也颇具特色,不同语种、不同方言、不同语域的语言混杂在一起,这种语言的狂欢化契合了小说人物的狂欢化精神追求。这种体裁和语言的混杂进一步体现了亦庄亦谐的“梅尼普精神”,使小说中阴郁的气氛得到缓解。结论部分结合巴赫金的狂欢化理论,进一步总结了《蛹》在人物塑造和创作手法上的鲜明特征,认为作者创造的小说世界与巴赫金理论所界定的狂欢式世界基本一致。因此,《蛹》可以被称为部狂欢化小说。
[Abstract]:John Fowles is a prolific and successful British writer. The pupa is his latest and last novel. Mahmoud Salami once said that the novel shows the most serious creative themes and creative ideas in Fowles's novels. From the theme to the writing method, the novel has dazzled readers. Many scholars try to place it in a corner. This article tries to use Bakhtin's theory of Carnival Poetics to interpret it. First, the heroine, the heroine, is humble but dare to challenge patriarchy and the mainstream social values of the time, and complete the magnificent turn of the identity of "a prostitute" in his own way. Change. The essence of the carnival theory - the spirit of Subversion - is a perfect presentation on her. Secondly, the small groups in the novel have their own unique ways to irony the established rules of society and expose their hypocrisy and dark side. Because of their existence, the facts and the truth become confusing, and the so-called truth is also ordered. In the end, the novel combines different languages such as interrogation, letters, magazines and other genres, Latin, Welsh, and legal language together to complete the carnival of writing methods. This is both a feast of language and language, and another of the spirit of the carnival in the novel. This paper defines the < pupa > as a carnival novel by analyzing the heroine, the group and the way of writing in the novel.
The thesis is composed of introduction, main body and conclusion. The main body is divided into three chapters.
The introduction first briefly introduces the situation of John Fowles's creation and the main story plot of the "pupa >". Secondly, it briefly summarizes the research status of the scholars at home and abroad; again, it expounds the three important concepts in Bakhtin's carnival theory, which lays the foundation for the analysis of the later chapters; finally, the various parts of the paper are made. The content arrangement is introduced.
The first chapter focuses on the carnival spirit of the heroine, the heroine of the novel, which is mainly reflected in her contempt and rebellion of the mainstream culture: the converts of marginalized tremor, the betrayal of patriarchal dictatorship, and the middle and upper social values represented by lawyer Henry. In the traditional sense of low and lowly prostitutes, in Fowles's pen, he gradually presents her valuable and respectable side. The transformation of the "prostitute one Saint daughter" shows the subversive power of women in the patriarchal society. The "pupa" of the title of the novel reminds us that "all concrete ugliness has the possibility of transforming into abstract beauty".
The second chapter focuses on the small figures in the novel. Fowles created a series of small marginalized characters (such as fools, hooligans, etc.) in the pupae. These little characters are not insignificant. They deviate from the established norms and stereotypes of the society in their own way, and ridicule and ridicule all the traditions, authority and sacred things. There is a special type in the small figure group, which presents the opposite but undetachable features in many aspects. They form the image of "pairs". These figures show the carnival characteristics of their body in the contrast and conflict and reveal the relativity of the truth.
The third chapter mainly discusses how to highlight and strengthen the carnival characteristics of the characters from the writing techniques. The author puts different text styles (such as legal documents, interrogation records, letters, newspapers and periodicals) into the narrative of the novel and embodies the multi inclusive carnival spirit on the text level. In addition, the pupa is also distinctive in language and different languages, Different dialects and different register languages are mixed together. The carnival of this language fits in with the spiritual pursuit of the carnival of the characters. The confounding of the genre and language further embodies the Meishan spirit, which makes the gloomy atmosphere in the novel relieved.
The conclusion is partly combined with Bakhtin's carnival theory to further summarize the distinctive features of "pupae" in portrayal and creation, and that the world of fiction created by the author is basically consistent with the carnival world defined by Bakhtin theory. Therefore, the pupa can be called a carnival novel.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.074

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