本文關(guān)鍵詞：重復(fù)與差異：互文理論觀照下的文學(xué)經(jīng)典　出處：《廣西師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 互文理論 德勒茲 差異與重復(fù) 米勒 文學(xué)經(jīng)典

【摘要】：西方后現(xiàn)代文學(xué)理論具有不同于傳統(tǒng)文學(xué)理論的多元,開(kāi)放,流變的特征。它的理論宗旨是對(duì)傳統(tǒng)的形而上學(xué)理論進(jìn)行顛覆與整合。在這樣的理論發(fā)展趨勢(shì)下,20世紀(jì)60年代末,法國(guó)著名文藝?yán)碚摷铱死锼沟偻迍?chuàng)造了“互文性”(intertextualite,或譯“文本間性”)的概念,奠定了當(dāng)代互文理論的基礎(chǔ)�；ノ睦碚搹�(qiáng)調(diào)文本自身的互涉性、斷裂性、不確定性和開(kāi)放性,突破了靜觀、孤立、封閉的理論形態(tài),具有較好的可操作性。因此,它在文學(xué)研究和文學(xué)寫(xiě)作中就扮演著越來(lái)越重要的角色,展示著自身的理論魅力。 論文主體三章分別從哲學(xué)、詩(shī)學(xué)與文學(xué)三方面展開(kāi)互文理論的題旨。 首先,從德勒茲的“差異與重復(fù)”的命題探究互文理論的哲學(xué)原理。法國(guó)思想家德勒茲(Gilles Deleuze,1925-1995)被譽(yù)為“差異哲學(xué)家”,他的哲學(xué)名著《差異與重復(fù)》(1968)從尼采式的“永恒回歸”的觀念獲取靈感,立足于差異性而不是同一性。以此審視世界萬(wàn)象,看到的是充滿差異的多元性的宇宙,過(guò)去、現(xiàn)在和未來(lái)共生共存,交疊互滲。差異與重復(fù)的本質(zhì)力量,意味著回歸一個(gè)流動(dòng)、嬗變和生成的世界。因此,德勒茲的“差異與重復(fù)”的概念可以從哲學(xué)上有力地支撐強(qiáng)調(diào)文本互涉、互闡、解構(gòu)與重構(gòu)的互文理論。德勒茲的命題是文學(xué)研究領(lǐng)域互文理論的重要哲學(xué)基石。 其次,從希利斯·米勒的“小說(shuō)與重復(fù)”的文學(xué)批評(píng)實(shí)踐來(lái)探討互文理論的詩(shī)學(xué)蘊(yùn)含。美國(guó)耶魯解構(gòu)學(xué)派主要成員希利斯·米勒(J. H. Miller,1928-)是中國(guó)文藝?yán)碚摻巛^為熟悉和關(guān)注的當(dāng)代國(guó)際著名的文學(xué)批評(píng)家,也是西方解構(gòu)主義思潮在美國(guó)的主要代表之一,他將德勒茲差異與重復(fù)的哲學(xué)概念與歐美文學(xué)批評(píng)實(shí)踐緊密結(jié)合起來(lái),在其詩(shī)學(xué)力作《小說(shuō)與重復(fù)》(1982)對(duì)康拉德《吉姆爺》、哈代《德伯家的苔絲》等七部英國(guó)小說(shuō)加以精彩的批評(píng),理論上側(cè)重區(qū)分了柏拉圖式的同質(zhì)重復(fù)與尼采—德勒茲式的異質(zhì)重復(fù)的詩(shī)學(xué)意義,充分展示了德勒茲詩(shī)學(xué)的微妙影響和他論析文學(xué)文本的細(xì)膩特色。另外,在他的詩(shī)學(xué)觀里還闡發(fā)了小說(shuō)重復(fù)的三種形態(tài),即微觀重復(fù),中觀重復(fù)和宏觀重復(fù),從差異與重復(fù)的角度進(jìn)行了小說(shuō)詩(shī)學(xué)的闡釋。 第三,在互文理論的觀照下,運(yùn)用德勒茲差異哲學(xué)思維和米勒詩(shī)學(xué)觀重新審視文學(xué)經(jīng)典。互文理論對(duì)文學(xué)經(jīng)典的觀照,大致呈現(xiàn)出兩個(gè)方向,一是作為批判文學(xué)經(jīng)典的武器,互文性理論逐步與文化研究、解構(gòu)批評(píng)、新歷史主義相結(jié)合；二是作為詩(shī)學(xué)實(shí)踐的工具,具體體現(xiàn)為對(duì)“重復(fù)”的實(shí)踐以探尋差異性的力量。因此,互文理論可以引導(dǎo)我們對(duì)文學(xué)經(jīng)典進(jìn)行重新闡釋。T.S.艾略特的《荒原》是互文性理論實(shí)驗(yàn)中“順寫(xiě)”的經(jīng)典。當(dāng)代俄裔美國(guó)作家納博科夫的小說(shuō)名著《洛麗塔》充盈著重復(fù)和戲仿的元素,被公認(rèn)是后現(xiàn)代敘事的重要標(biāo)本。在西方互文理論視野中引入希利斯·米勒小說(shuō)詩(shī)學(xué)的“重復(fù)”理論與德勒茲哲學(xué)“差異與重復(fù)”的美學(xué)命題,審視《洛麗塔》的“重復(fù)”、“戲仿”與“差異”的三個(gè)維度,能夠啟迪我們更為深刻地感悟后現(xiàn)代主義文學(xué)的特質(zhì),理解德勒茲哲性詩(shī)學(xué)強(qiáng)調(diào)差異性而不是同一性的思想力量,深化當(dāng)代文學(xué)批評(píng)與文化詩(shī)學(xué)的理論意識(shí)。少數(shù)族文學(xué)、女性作家通過(guò)重寫(xiě)、逆寫(xiě)、改寫(xiě)多數(shù)族文學(xué)的正典,從而重復(fù)過(guò)去、現(xiàn)在以創(chuàng)造未來(lái)的新維度。因此,互文理論和文學(xué)實(shí)踐所特有的差異性力量,不僅導(dǎo)致了文學(xué)經(jīng)典的多樣化解讀,同時(shí)也挑戰(zhàn)了傳統(tǒng)的靜觀的詩(shī)學(xué)觀念。人類的慣性思維模式被打破,構(gòu)成文學(xué)世界的版圖被不斷重新排列組合,從而衍生出紛繁多姿的可能性。 總括而言,互文理論充盈著差異哲學(xué)的力量,具有解構(gòu)論詩(shī)學(xué)的蘊(yùn)含與開(kāi)放的文學(xué)空間�；ノ睦碚撌侨藗儗�(duì)文學(xué)認(rèn)識(shí)的深化,也是一種靈活開(kāi)放的研究方法,它在內(nèi)部批評(píng)和外部批評(píng)之間打開(kāi)了通道,意味著文學(xué)范式的重要轉(zhuǎn)型——強(qiáng)調(diào)用多維的、可逆的空間范式代替一維、單向的時(shí)間范式,從而與“轄域化—解轄域化—再轄域化”的后結(jié)構(gòu)主義文藝美學(xué)觀念“文心”相通,是一種富于當(dāng)代學(xué)術(shù)意識(shí)的理論方法。
[Abstract]:Post modern western literary theory is pluralistic, different from the traditional literary theory of the open, rheological characteristics. It is the purpose of the theory of metaphysics to the traditional theory of subversion and integration. In 1960s the theory of this trend, the end of the famous French literary theorist Christiva created the "intertextuality" (intertextualite, or "text translation between") concept, laid the foundation of modern intertextuality theory. The theory of intertextuality emphasizes the interaction of the text itself, fracture, uncertainty and openness, through contemplation, isolated, closed form theory, has a good operability. Therefore, it is in the literature research and literary writing in the play a more and more important role, showing the charm of theory itself.
The three chapter from philosophy, poetics and literature in three aspects of the theme of the theory of intertextuality.
First of all, from Deleuze's theory of "differences and repetition" to explore the philosophy principle of intertextual theory. The French thinker Deleuze (Gilles Deleuze, 1925-1995) is known as "the difference of philosopher", his philosophical masterpiece "difference and repetition" (1968) from Nietzsche's "eternal return" concept and inspiration based on the difference not the same. In order to examine the world Vientiane, see is full of differences of the diversity of the universe, past, present and future of coexistence, mutual overlapping. The essence of power difference and repetition, means a return flow, transformation and generation of the world. Therefore, Deleuze's "difference and repetition" from a philosophical concept can effectively support the emphasis on intertextuality, mutual interpretation, deconstruction and reconstruction of the theory of intertextuality. Deleuze's proposition is an important philosophical foundation of literature research field of intertextual theory.
Secondly, to explore the theory of intertextuality contains poetics from Hillis Miller's "fiction and repetition" the practice of literary criticism. The main members of Yale School Hillis Miller deconstruction (J. H., Miller, 1928-) are more familiar with China literary theory and focus on contemporary international famous literary critic, one of the main representatives of Western deconstructionism in the United States Deleuze, he will repeat differences and philosophical concepts and European literary criticism practice closely together, in his poetic masterpiece "fiction and repetition" (1982) to Conrad Jim Hardy, < >, < >, Tess of the d'Urbervilles seven English novels to be wonderful criticism theory to distinguish the poetic meaning of Platon on the homogeneity and heterogeneity of Deleuze Nietzsche's repeated and repeated, fully demonstrated the characteristics of exquisite literary text subtle influence of Deleuze's Poetics and his other. Besides, in his poetics view, three forms of repetition are elucidated, namely micro repetition, meso repetition and macro repetition, and the interpretation of novel poetics from the perspective of difference and repetition.
Third, in the perspective of intertextual theory, the difference between Deleuze philosophy and Poetics of Miller to re-examine the classical literature. On the intertextual theory of literary classic, there are two directions, a literary classic is as critical weapon, the theory of intertextuality gradually and cultural studies, deconstruction criticism, New Historicism combined two; as Poetics practice tools, embodied in the practice of "repeat" to explore the power of the difference. Therefore, the theory of intertextuality can guide us to the classic literature was re interpretation of Eliot's ".T.S." is the theory of intertextuality wilderness experiment "write smoothly" classic. Contemporary Russian born American writer Nabokov the novel < > Lolita masterpiece filled with the elements of repetition and parody is considered a postmodern important specimen. The introduction of Hillis Miller's novels in the perspective of Western Poetics in the theory of intertextuality" Repeat "theory and Deleuze's philosophy of" differences and repetition "aesthetic proposition," Lolita Review > "repeat", "three dimensions Parody" and "difference", to enlighten us more characteristic of modernism literature profound comprehension, understanding Deleuze poetry emphasizes the difference but not the same the power of thought, deepen the theoretical consciousness of contemporary literary criticism and cultural poetics. Minority literature, women writers by rewriting, reverse writing, rewriting most literature canon, to repeat the past, now in order to create a new dimension in the future. Therefore, the difference of strength of specific intertextuality theory and literary practice, not only led to the diversified interpretation of classical literature, but also challenges the traditional concept of poetics. Contemplation of human thinking mode is broken, constitute the world has been rearranged, derived from numerous A variety of possibilities.
In general, the theory of intertextuality filling differences in the power of philosophy, with the deconstructive implication of poetic theory and the open literature space. The theory of intertextuality is deepening people's understanding about literature, but also a flexible and open research method, which opens the channel between the internal and external criticism, means an important transformation of literary paradigm -- emphasis a multidimensional space paradigm, instead of one-dimensional reversible, one-way time paradigm, and thus "territorializes - deterritorialising - re territorializes" post structuralism literary aesthetic concept of "heart" which is a theoretical method which is rich in contemporary academic consciousness.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I02

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 趙崇璧;;重復(fù)的三種詩(shī)學(xué)功能[J];重慶郵電大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2011年02期

2 蕭俊明;從結(jié)構(gòu)主義到后結(jié)構(gòu)主義:一種文化思考[J];國(guó)外社會(huì)科學(xué);2001年05期

3 余岱宗;敘事模式研究:結(jié)構(gòu)主義與后結(jié)構(gòu)主義[J];海南師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2005年02期

4 李永毅;;文字、文本與文化:解構(gòu)主義的互文理論[J];蘭州學(xué)刊;2007年05期

5 麥永雄;;后現(xiàn)代多維空間與文學(xué)間性——德勒茲后結(jié)構(gòu)主義關(guān)鍵概念與當(dāng)代文論的建構(gòu)[J];清華大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2007年02期

6 潘于旭;;德勒茲的差異與文本革命[J];青海社會(huì)科學(xué);2006年03期

7 張法;德勒茲與思想重構(gòu)[J];天津社會(huì)科學(xué);2001年05期

8 黃鐵池;“玻璃彩球中的蝶線”——納博科夫及其《洛麗塔》解讀[J];外國(guó)文學(xué)評(píng)論;2002年02期

9 劉進(jìn);;20世紀(jì)中后期以來(lái)的西方空間理論與文學(xué)觀念[J];文藝?yán)碚撗芯?2007年06期

10 麥永雄;德勒茲:生成論的魅力[J];文藝研究;2004年03期

，

本文編號(hào)：1359048