本文選題：萬比洛夫 + 悖謬　； 參考：《南京大學(xué)》2017年碩士論文

【摘要】：萬比洛夫的作品具有獨(dú)特的悖謬美學(xué),無論在其早期的短篇故事還是之后的戲劇作品中,悖謬都是一個(gè)顯在的創(chuàng)作特征。悖謬作為萬比洛夫作品情節(jié)結(jié)構(gòu)的內(nèi)在手法,亦是其幽默和喜劇風(fēng)格的重要來源。在萬比洛夫的短篇小說中,故事的敘述者與隱含作者之間產(chǎn)生了一定的"間離",某種程度上形成了韋恩·布斯所說的"不可靠敘述",這種由敘事上所呈現(xiàn)出的悖謬狀態(tài)營造了獨(dú)特的反諷效果。在其戲劇創(chuàng)作中,萬比洛夫通過怪誕表現(xiàn)手法的運(yùn)用,在突顯悖謬的同時(shí),亦呈現(xiàn)出絕妙的反諷意味。怪誕作為一種美學(xué)風(fēng)格,在結(jié)構(gòu)化的功能意義上具有雙重性,它以解構(gòu)的策略來建構(gòu)一個(gè)疏離異化的世界,它提供一種全新的眼光來重新審視充滿悖謬的現(xiàn)實(shí)世界,盡管這種眼光可能是怪異的、令人不安的,但卻是清醒的、真實(shí)可靠的。悖謬作為萬比洛夫觀照現(xiàn)實(shí)生活的特殊視角,同時(shí)也是對(duì)于蘇聯(lián)那一特定的歷史轉(zhuǎn)折時(shí)期充滿荒誕性的社會(huì)本質(zhì)所作出的深刻闡釋。"解凍"思潮過后,面對(duì)后斯大林時(shí)期的極權(quán)統(tǒng)治,人們?cè)僖矡o法以真誠的理想和熱情投入到國家烏托邦神話的建構(gòu)之中,生活在謊言中的人們陷入了信任危機(jī),普遍的虛偽與麻木支撐起了蘇聯(lián)"后專制時(shí)期"充滿滑稽感與荒誕性的生活。萬比洛夫通過"環(huán)形布局"的戲劇結(jié)構(gòu)暗示了這種悖謬與荒誕,其戲劇結(jié)構(gòu)間接參與了作品意義的生成。無根性和多余性構(gòu)成了萬比洛夫筆下現(xiàn)代青年的主要特征,然而通過"尋父"這一主題的呈現(xiàn),萬比洛夫的劇作中不時(shí)傳遞著一種追尋意識(shí),一種契訶夫式的希望。萬比洛夫作品中的悖謬意識(shí)也體現(xiàn)出一種反烏托邦的精神。在萬比洛夫筆下,城市被視為現(xiàn)代科技高度發(fā)達(dá)的象征,但科技的發(fā)達(dá)與現(xiàn)代化生活方式的舒適便捷在這里完全走向了它的反面,呈現(xiàn)出一定的悖謬性。而鄉(xiāng)村大自然作為遠(yuǎn)距離的審美觀照,是萬比洛夫?qū)徱暚F(xiàn)代城市文明的特殊視角。如果說國家烏托邦主義神話的建構(gòu)依托的是高度發(fā)達(dá)的科學(xué)技術(shù)的話,那么極權(quán)主義的話語模式便是它最重要也是最根本的保障。萬比洛夫在對(duì)科技進(jìn)步所帶來的現(xiàn)代化生活方式進(jìn)行反思與批判的同時(shí),也以反烏托邦的姿態(tài)將官方意識(shí)形態(tài)和極權(quán)話語模式作了解構(gòu)與顛覆。萬比洛夫以敏銳的目光洞穿了官方文學(xué)其內(nèi)在的悖謬之處,在"科技革命"口號(hào)之下所誕生的"生產(chǎn)題材"文學(xué)的繁榮并不能掩蓋蘇聯(lián)這一時(shí)期"停滯"的本質(zhì)。同時(shí),通過"戲仿"這一手法的運(yùn)用,萬比洛夫?qū)O權(quán)主義話語及其"真理"的建構(gòu)方式進(jìn)行了強(qiáng)有力的顛覆。與極權(quán)主義國家顛撲不破實(shí)則荒謬的"真理"相反,悖謬所采用的卻是一種"表面上荒謬而實(shí)際上真實(shí)的陳述"。萬比洛夫正是通過其文本中悖謬意識(shí)的呈現(xiàn),在解構(gòu)極權(quán)主義話語方式的同時(shí)亦巧妙地達(dá)到了文學(xué)本身的訴求。
[Abstract]:Wanbirov's works have unique paradoxical aesthetics. In both his early short stories and later dramatic works, paradoxes are an obvious creative feature.As an internal technique of the plot structure of Wanbirov's works, paradox is also an important source of humor and comedy style.In Wanbirov's short stories,The narrator of the story and the implied author produced a certain "distance", which to some extent formed the "unreliable narration" described by Wayne Booth, which created a unique ironic effect by the paradoxical state of narration.In his drama creation, Wan Birov, through the use of grotesque expression, not only highlights the paradox, but also presents a brilliant irony.As a kind of aesthetic style, grotesque has dual character in the sense of structuring function. It constructs a alienated world with deconstruction strategy, and it provides a new vision to re-examine the real world full of paradoxes.While the look may be strange and disturbing, it is sober and authentic.As a special visual angle of Wanbirov's view of real life, the paradox is also a profound explanation of the absurd nature of society in that particular historical turning period of the Soviet Union. "After thawing the trend of thought, in the face of the post-Stalin period of totalitarian rule, people can no longer engage in the construction of the national utopian myth with sincere ideals and enthusiasm, and people living in lies fall into a crisis of trust.Universal hypocrisy and numbness underpin the post-autocratic period of Soviet life full of antics and absurdity.Wanbirov implied this paradox and absurdity through the dramatic structure of "ring layout", whose dramatic structure indirectly participated in the creation of the meaning of the work.Rootlessness and redundancy constitute the main characteristics of modern youth in Wanbirov's works. However, through the theme of "seeking Father", Wanbirov's plays sometimes convey a sense of pursuit, a kind of Chekhov's hope.The paradoxical consciousness in Wanbirov's works also embodies a kind of dystopian spirit.In Wanbirov's works, the city is regarded as the symbol of the high development of modern science and technology, but the development of science and technology and the comfort and convenience of the modern way of life go completely to its opposite here, showing a certain paradox.Rural nature, as a long-distance aesthetic view, is a special perspective for Wanbirov to examine modern urban civilization.If the construction of the national utopian myth is based on highly developed science and technology, then the totalitarian discourse mode is the most important and the most fundamental guarantee.While reviewing and criticizing the modern way of life brought about by the progress of science and technology, Wanbirov deconstructed and subverted the official ideology and totalitarian discourse mode in a dystopian manner.Wanbirov pierced the inherent paradoxes of official literature with keen eyes. The prosperity of "production theme" literature born under the slogan of "technological revolution" could not conceal the essence of "stagnation" in this period of Soviet Union.At the same time, through the use of parody, Wanbilov subverts the totalitarian discourse and its way of constructing truth.Contrary to the "truth" of the totalitarian state, which is absurd, the paradox adopts a kind of "seemingly absurd but actually true statement".It is through the appearance of paradoxical consciousness in his text that Wanbirov destructs the totalitarian discourse mode and skillfully achieves the demands of literature itself.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I512.06

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