發(fā)布時(shí)間：2018-03-06 07:47

  本文選題：文學(xué)創(chuàng)造　切入點(diǎn)：主體　出處：《西北民族大學(xué)》2009年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 文學(xué)創(chuàng)造主體問(wèn)題,即關(guān)于文學(xué)活動(dòng)中文本生產(chǎn)者的問(wèn)題,是文學(xué)研究中最為核心的問(wèn)題之一。筆者以文學(xué)創(chuàng)造主體這一極為重要問(wèn)題為研究對(duì)象,試圖以新的研究方法和視角重新審視、詮釋傳統(tǒng)問(wèn)題,希望得出具有學(xué)術(shù)價(jià)值的新結(jié)論。 本文對(duì)“主體”、“主體性”以及“作者”做了簡(jiǎn)單的界定,明確以文學(xué)創(chuàng)造主體為研究對(duì)象,緊緊圍繞主體問(wèn)題展開(kāi)論述。筆者首先著眼于文學(xué)創(chuàng)造主體的生成過(guò)程,結(jié)合拉康和海德格爾的哲學(xué)理論,認(rèn)為人類(lèi)主體在生成后被存在打上了痛苦的烙印,必須到文學(xué)活動(dòng)中去尋求解脫,這是主體進(jìn)行文學(xué)創(chuàng)造活動(dòng)的原因。之后筆者對(duì)多種帶有形式主義色彩的文論流派進(jìn)行了回顧,區(qū)分了一般語(yǔ)言形式和文學(xué)語(yǔ)言形式,比較了一般語(yǔ)言活動(dòng)與文學(xué)語(yǔ)言活動(dòng),認(rèn)為文學(xué)創(chuàng)造的具體方法是加工語(yǔ)言形式。以主體的相同需求與寫(xiě)作方式為前提,筆者將文學(xué)作品能夠千姿百態(tài)的原因,解釋為創(chuàng)造主體具有差異性,而這一差異又分為共時(shí)性差異和歷時(shí)性差異兩大類(lèi)。最終,主體通過(guò)文學(xué)創(chuàng)造行為獲得了最終的解脫,主體實(shí)現(xiàn)了對(duì)有限生命、語(yǔ)言慣例和意識(shí)形態(tài)的超越,在藝術(shù)世界里克服了現(xiàn)實(shí)世界的存在之苦。 總之,文學(xué)創(chuàng)造主體通過(guò)文學(xué)創(chuàng)造活動(dòng),完成了常人所不能完成的事業(yè),不僅使自己的靈魂得以涅磐,也帶領(lǐng)全人類(lèi)走在重返伊甸園的歸家之途上。
[Abstract]:The subject of literary creation, that is, the producer of Chinese text of literary activity, is one of the most important problems in literary research. This paper attempts to re-examine and interpret traditional problems with new research methods and perspectives, hoping to draw new conclusions of academic value. This paper makes a simple definition of "subject", "subjectivity" and "author", makes clear that the main body of literary creation is the object of study, and focuses on the subject issue. First, the author focuses on the forming process of the subject of literary creation. Combining the philosophical theory of Lacan and Heidegger, it is believed that the human subject has been marked painfully by its existence after its creation, and must seek relief from literary activities. This is the reason for the subject's literary creation. Then the author reviews various literary schools with formalism, differentiates the general language form from the literary language form, and compares the general language activity with the literary language activity. The author thinks that the concrete method of literary creation is the processing of language form. On the premise of the same demand of the subject and the way of writing, the author interprets the reason why the literary works can be varied as the difference of the creative subject. The difference is divided into two categories: synchronic difference and diachronic difference. Finally, the subject obtains the ultimate liberation through literary creation, and the subject achieves the transcendence of limited life, linguistic convention and ideology. It overcomes the existence of the real world in the art world. In a word, the main body of literary creation, through literary creation activities, has accomplished what ordinary people cannot accomplish, which not only makes his soul Nirvana, but also leads all mankind to return to his home in the Garden of Eden.
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：I02

【共引文獻(xiàn)】

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本文編號(hào)：1573969