本文選題：《情感教育》　切入點：福樓拜　出處：《山東師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：作為從十九世紀現(xiàn)實主義文學向現(xiàn)代主義文學風格轉變的代表性作家，福樓拜的《情感教育》是最能體現(xiàn)其創(chuàng)作風格現(xiàn)代性的一部小說，在這部小說中福樓拜將本人對于文學藝術創(chuàng)作思考和探索融入作品文本創(chuàng)作。也許是因為福樓拜《包法利夫人》的光芒太過耀眼，學界對于《情感教育》這部最能體現(xiàn)福樓拜創(chuàng)作風格現(xiàn)代性的作品的研究和發(fā)掘卻相對缺乏。 本文從三部分論述《情感教育》創(chuàng)作風格的現(xiàn)代性：首先，從人物角度來說，作者不再刻意塑造一個典型的人物性格，，而是用文筆的手術刀直接切入人的靈魂深處，不僅剖析出存在于人自身普遍而永久的愚蠢和失敗特征；而且其筆端開始觸及人自身的“靈”與“肉”之間不可調和的矛盾。作品中的主要人物弗雷德里克已經(jīng)開始意識到生活的無聊與乏味，生命呈現(xiàn)出一種灰色而沉悶的色調。其次，在小說結構上，福樓拜打破了傳統(tǒng)作家使用的以情節(jié)為基礎的單維結構方式，而是將文本整體切割成無明顯因果聯(lián)系的場景片段；讀者在閱讀中不再被環(huán)環(huán)相扣的故事情節(jié)所吸引，更多看到的是無處不在的各種咖啡館、餐館、畫室等地點，有幾個人或一群人參與的聚會，以及情人之間約會。作者將鏡頭拉伸到生活的細部，細節(jié)在整個小說文本中大放異彩：在細節(jié)的處理方面，作者不僅力求“精確性”，而且將自己的藝術個性融入其中，創(chuàng)造出一種現(xiàn)代意義上的真實感。最后，在敘事方面，作者對于傳統(tǒng)小說中上帝式“全知全能”的敘述方式進行了大膽的革新：有限視角的運用使小說的敘事更加客觀、真實；扮演無所不知上帝角色的作者在文本中消失，福樓拜巧妙的使用了文本之間的“跳躍”和“空白”的敘事技巧，制造出敘述上的“中斷”，這樣的敘述方式不僅豐富了小說的文本內涵，而且拓寬了讀者想象和思考的空間，從而達到一種“無聲勝有聲”的藝術效果。
[Abstract]:As a representative writer who changed from realistic literature to modernist literary style in 19th century, Flaubert's emotional Education is a novel which can best reflect the modernity of his writing style. In this novel, Flaubert integrates his thinking and exploration of literary and artistic creation into the text creation. Perhaps it is because Flaubert's "Mrs. Bovary" is too bright. However, there is a relatively lack of research and exploration in the field of emotional Education, which embodies the modernity of Flaubert's creative style. This paper discusses the modernity of the writing style of "emotion Education" from three parts: first, from the perspective of characters, the author no longer deliberately molds a typical character character, but cuts directly into the soul of people with a scalpel in writing. Not only analyze the common and permanent characteristics of stupidity and failure that exist in people themselves; And the pen began to touch on the irreconcilable contradiction between "spirit" and "flesh". Frederick, the main character in his work, had begun to realize the boredom and boredom of life. Life presents a gray and dull tone. Secondly, in the novel structure, Flaubert breaks the one-dimensional structure based on plot used by the traditional writers, but cuts the text into scenes with no obvious causal link. Readers are no longer attracted by the interlocking storylines in their reading, but rather by the ubiquitous variety of cafes, restaurants, studios, parties attended by a few people or a group of people. And dating between lovers. The author stretched the lens into the details of life, and the details were brilliant throughout the novel: in the handling of detail, the author sought not only to be "precise", but also to incorporate his artistic personality into it. Finally, in the narrative aspect, the author has carried on the bold innovation to the traditional novel "all-knowing omnipotence" narrative way: the use of the limited angle of view makes the novel narration more objective and true; The author, who plays the role of omniscient God, disappears in the text, and Flaubert cleverly uses the narrative techniques of "jumping" and "blank" between the texts. It not only enriches the text connotation of the novel, but also widens the space for readers to imagine and think, thus achieving an artistic effect of "silence is better than sound".
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：I565.074

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