【摘要】： 阿瓦德的《深谷幽城》是一部當(dāng)今世界的寓言。被譽(yù)為繼《百年孤獨(dú)》之后拉丁美洲文學(xué)的又一座豐碑。本文從影響研究角度,研究《深谷幽城》對(duì)《神曲》藝術(shù)的繼承和超越。 本文共分四個(gè)部分。 第一部分是闡述《深谷幽城》研究現(xiàn)狀與本文的立足點(diǎn),以整理前人觀點(diǎn)和自己的看法。 第二部分是論述《深谷幽城》對(duì)《神曲》藝術(shù)的繼承,分別從空間結(jié)構(gòu)、人物、隱喻三個(gè)方面來探究二者在藝術(shù)上的繼承關(guān)系。兩部作品中都采用了地獄、煉獄、天堂的三層結(jié)構(gòu);在人物上哈科沃與但丁的相似;維吉爾和維爾吉尼婭、貝亞德和貝亞特里絲為同一人名。兩部作品都采用了隱喻手法,使作品具有廣泛的象征意義。 第三部分是《深谷幽城》對(duì)《神曲》藝術(shù)的超越,從獨(dú)特的散點(diǎn)結(jié)構(gòu),多元化的敘事視角,現(xiàn)實(shí)主義的回歸,人物、結(jié)構(gòu)、結(jié)局六個(gè)角度入手,通過比較來分析《深谷幽城》對(duì)《神曲》藝術(shù)的超越。散點(diǎn)結(jié)構(gòu),多元化的敘事視角,現(xiàn)實(shí)主義的運(yùn)用都是阿瓦德采用現(xiàn)代主義的藝術(shù)手法,《神曲》中是不存在的。《深谷幽城》中的人物都是貫穿整個(gè)小說的始末,而《神曲》中的人物多是片段的,在詩(shī)歌的某個(gè)部分出現(xiàn),只有但丁作為游歷者貫穿始終;結(jié)構(gòu)上,《神曲》是單線索的結(jié)構(gòu)方式,《深谷幽城》采用西方十九世紀(jì)的網(wǎng)狀結(jié)構(gòu);從結(jié)局上看,《神曲》是文藝復(fù)興時(shí)期的喜劇,《深谷幽城》是現(xiàn)實(shí)的“喜劇”。 第四部分是探究《深谷幽城》繼承與超越的意義,一是現(xiàn)實(shí)意義;二是文學(xué)價(jià)值;三是美學(xué)意義。
[Abstract]:Awadh's the City of the Deep Valley is a fable in today's world. It is regarded as another monument of Latin American literature after hundred years of Solitude. From the perspective of influence research, this paper studies the inheritance and transcendence of the art of Divine Comedy. This paper is divided into four parts. The first part is to elaborate the present situation of the study and the foothold of this paper in order to sort out the previous views and their own views. The second part discusses the inheritance of Divine songs from the three aspects of spatial structure, characters and metaphors. Both have the three-tier structure of hell, purgatory, and heaven; Jacobo's resemblance to Dante in characters; Virgil and Virginia, Bayard, and Beatrice. Both works adopt metaphorical techniques to make the works have a wide range of symbolic significance. The third part is the transcendence of the art of Divine Comedy, which starts with the unique scattered structure, the diversified narrative perspective, the return of realism, the characters, the structure and the ending. Through comparison, the author analyzes the transcendence of the art of Divine Comedy. Scattered structure, diversified narrative perspective, realism is Awadh's use of modernist artistic techniques, "Divine qu" is non-existent. The characters in "Deep Valley City" run through the whole novel from the beginning to the end. However, most of the characters in Divine qu appear in some part of the poem, only Dante, as a traveller, runs through the whole time, structurally, "Divine Comedy" is a single clue structure, and "Deep Valley City" adopts the network structure of the 19th century in the West. In the end, Divine Comedy is a comedy of Renaissance period, and Deep Valley City is a realistic comedy. The fourth part is to explore the significance of inheritance and transcendence, one is the practical significance, the other is the literary value, and the third is the aesthetic significance.
【學(xué)位授予單位】：西北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I106;I0-03

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