【摘要】： 本文在�？碌姆粗黧w哲學(xué)的根基上,探討其文學(xué)思想,亦即反主體哲學(xué)怎樣在其文學(xué)思想中形成主題與形成怎樣的主題。全文分為三個(gè)部分。 第一部分為緒論,主要介紹福柯的生平、思想與著作,課題的研究的緣起、現(xiàn)狀、意義以及創(chuàng)新點(diǎn)。 第二部分是正文,分為三章: 第一章考察了�？碌淖髡呃碚撘约皩�(duì)文學(xué)出現(xiàn)的見(jiàn)解。首先,福柯認(rèn)為作者并不先在于作品,作者只是代表一定的原則來(lái)限制、排斥、挑選作品的工具,或者說(shuō)“作者”只是一個(gè)發(fā)明的語(yǔ)詞。其次,這種對(duì)主體的質(zhì)疑與他對(duì)文學(xué)“出現(xiàn)”的論述也不無(wú)關(guān)系,在這種“出現(xiàn)”之后,文學(xué)是一個(gè)自足的結(jié)構(gòu)空間,僅僅是一種“語(yǔ)言的單純表現(xiàn)”,并“在自己的存在中閃爍”。 第二章通過(guò)與德里達(dá)的比較,見(jiàn)出�？碌奈谋窘庾x策略。�？抡J(rèn)為,讀解一個(gè)文本的最好辦法,是參照語(yǔ)境�；氐轿谋颈旧砼c細(xì)讀也是�？碌慕庾x策略。這也與�？滤枷塍w系中“主體”的缺席有不可分割的關(guān)系,語(yǔ)境不是人為設(shè)置的,而是自然運(yùn)作的,文本本身更隔斷了創(chuàng)作主體與創(chuàng)作對(duì)象的關(guān)系。 第三章通過(guò)對(duì)《瘋癲與文明》的分析,闡述瘋癲與藝術(shù)(文學(xué))的關(guān)系。一方面,藝術(shù)家的瘋癲在一定程度上成就了藝術(shù)品,非理性因素也是文學(xué)藝術(shù)質(zhì)的規(guī)定性所在。另一方面,瘋癲又難以與藝術(shù)品共存,或謂“瘋癲是藝術(shù)作品的缺席”。雖然�？乱呀�(jīng)較為自覺(jué)地放逐主體在文學(xué)藝術(shù)創(chuàng)作中的作用,但我們從他對(duì)瘋癲與文藝的關(guān)系的論述中可以看到,這種放逐是不徹底的,這在根本上是因?yàn)榀偘d體驗(yàn)本身就是一種非常主體性的東西。 在第三部分即結(jié)語(yǔ)中,筆者對(duì)�？碌奈膶W(xué)思想進(jìn)行了簡(jiǎn)要的總結(jié)和評(píng)析。
[Abstract]:On the basis of Foucault's anti-subject philosophy, this paper discusses his literary thought, that is, how the anti-subject philosophy forms the theme and what kind of theme it forms in his literary thought. The full text is divided into three parts. The first part is the introduction, mainly introduces Foucault's life, thought and works, the origin, the present situation, the significance and the innovation of the subject. The second part is the text, which is divided into three chapters: the first chapter examines Foucault's author's theory and his views on literary emergence. First of all, Foucault thinks that the author does not lie in the work first, but only represents a certain principle to limit, reject, select the tool of the work, or "author" is only an invented word. Secondly, this questioning of the subject has something to do with his exposition of "appearance" of literature. After this "emergence", literature is a self-sufficient structural space, and is only a "pure expression of language". And twinkle in his own existence. The second chapter shows Foucault's reading strategy by comparing with Derrida. Foucault believes that the best way to read a text is to refer to context. To return to the text itself and read carefully is Foucault's reading strategy. This is also related to the absence of "subject" in Foucault's thought system. Context is not set up by man but by nature, and the text itself separates the relationship between the subject and the object of creation. The third chapter expounds the relationship between madness and art (literature) through the analysis of Mad and Civilization. On the one hand, the artist's madness has made art to a certain extent, and irrationality is also the stipulation of literary and artistic quality. On the other hand, madness is difficult to coexist with art, or "madness is the absence of works of art". Although Foucault has been more conscious of the role of the subject in literary and artistic creation, we can see from his exposition on the relationship between madness and literature and art that this exile is incomplete. This is fundamentally because the insane experience itself is a very subjective thing. In the third part, the author summarizes Foucault's literary thoughts.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I0

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 林鶯;;意識(shí)流與瘋癲之哲學(xué)新解[J];東南學(xué)術(shù);2009年02期

相關(guān)碩士學(xué)位論文 前1條

1 呂菲菲;論米歇爾·�？碌奈膶W(xué)語(yǔ)言觀[D];山東師范大學(xué);2009年

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本文編號(hào)：2351581