中日同名小说《厨房》比较研究

发布时间：2018-03-03 08:11

本文选题：徐坤　切入点：吉本芭娜娜　出处：《湖南师范大学》2016年硕士论文　论文类型：学位论文

【摘要】：在中国与日本的当代女性作家群体中,徐坤和吉本芭娜娜分别代表了一股强劲的女性创作新潮流。吉本芭娜娜于1987年发表处女作《厨房》这部获得日本海燕新人文学奖及第十六届泉镜花文学奖的作品,掀起了日本90年代女性文学新的变革浪潮而徐坤于1997年创作同名小说《厨房》,获得第二届鲁迅文学奖。在中国当代文学众声喧哗的语境中,成为一杆破空而出的女性文学旗帜,这背后,是徐坤在日本文学长期熏陶感染之下对彼国文学的自觉汲取以及立足本国,对中国女性生存境况的理性思考。相隔十年的两部同名女性文学作品跨越国度遥相呼应,向文学界提醒着其精神内核之间千丝万缕的关联性。二者的同名现象,也打开了一扇未曾引人注意的窗,通往对中日女性文学异同的考察探微。因此,论文尝试运用比较文学、新女性主义、空间诗学、日常生活话语等相关理论,对两部文本展开比较研究,以期探讨消费时代语境中的中日女性生存困境,开掘两国当代女性文学深层内涵与新的研究视域。论文主要分为六个部分:引言主要介绍徐坤与吉本芭娜娜的创作历程,梳理国内外研究现状,并阐明论文的研究方法、研究意义和基本思路。第一章立足于文学史视野,阐述两位作家在各自时代语境中向个体的回归。徐坤以其冷静的智识放弃对男性身份的假借回到女性叙事者主体意识的抒写。吉本则以敏锐的直觉性深入挖掘日本青年群体无意识的麻木生存状态。在对商业化特性和后现代顽疾的诊疗中,两部共同选择了冷静的旁观视角,体现出文本的终极关怀与现实关怀。第二章引入空间诗学理论,主要分析“厨房”空间的物质话语。探讨两部作品中对于物理性的日常生活空间的体验式回归。徐坤侧重于对厨房诗性形态的描画,吉本芭娜娜则突出表现厨房物质能量的拯救价值。于对象化的情感客体之中观照自身,于每一个瞬间体验存在的价值,这是两位作家在“厨房”里所共同寄予的现时性生存理念。第三章着重阐释“厨房”空间的性别话语。在两部《厨房》中,家庭、女性、厨房三者之间潜在着权利意识与亲情人伦的复杂交错,徐坤展现了厨房里传统男权话语的因袭,吉本则试图颠覆核心家庭的固有结构。在对女性权利秩序的期待上,两部作品的主题能够互相映照,分别指向女性被动的放逐与主动的出发。第四章深入探寻“厨房”空间的情爱话语,通过论述食物在情爱中的催化作用,细致剖析了徐坤与吉本芭娜娜对灵肉关系的正反面表达。前者困惑于商业社会对情爱纯粹本质的侵蚀,后者试图通过非常态的两性交往模式,找出一条通往灵肉完整的道路。结语肯定了徐坤的现实批判色彩和吉本芭娜娜的理想主义精神,揭示两部作品所体现的中日两国迥然有异却又息息相关的女性文学气质,以及为各自女性文学发展所提供的启示与引导意义。
[Abstract]:Among the groups of contemporary women writers in China and Japan, Xu Kun and Yoshimoto Barnana represent a strong new trend in women's creativity. In 1987, Gibbon Barna published her first work, Kitchen, which won the Japanese petrel New humanity Literature Award and the 16 Quan Mirror Literature Award. In 1997, Xu Kun created the novel of the same name, Kitchen, and won the second Lu Xun Prize for Literature. In the noisy context of Chinese contemporary literature, Xu Kun became the banner of female literature that broke through. Behind this is Xu Kun's conscious absorption of the literature of other countries under the influence of Japanese literature for a long time, as well as his rational thinking about the living conditions of Chinese women based on his own country. Two works of women's literature of the same name, separated by ten years, echo each other across the country. The phenomenon of the same name between the two has opened an unnoticed window to explore the similarities and differences between Chinese and Japanese female literature. Therefore, the thesis tries to use comparative literature. New feminism, space poetics, daily life discourse and other relevant theories, this paper makes a comparative study of the two texts in order to explore the survival plight of Chinese and Japanese women in the context of the consumer era. The thesis is divided into six parts: the introduction mainly introduces Xu Kun and Gibbon Barna's creative history, combs the domestic and foreign research present situation, and clarifies the research method of the thesis. The first chapter is based on the perspective of the history of literature. This paper expounds the return of the two writers to the individual in the context of their respective times. Xu Kun, with his cool intellect, gave up the pretense of male identity and returned to the expression of the female narrator's subjective consciousness. Gibbons, on the other hand, went deep into the day with keen intuition. The unconscious numbness of the living state of this group of young people. In the diagnosis and treatment of commercial characteristics and postmodern persistent diseases, The two parts jointly choose a calm perspective of watching, reflecting the ultimate concern and realistic concern of the text. Chapter two introduces the theory of space poetics. This paper mainly analyzes the material discourse of the "kitchen" space, and probes into the experiential regression of the physical daily living space in the two works. Xu Kun focuses on the description of the poetic form of the kitchen. Gibbon Barna, on the other hand, highlights the saving value of the material energy in the kitchen. In the objectified emotional object, she looks at herself and experiences the value of existence in every instant. This is the current concept of sexual survival shared by the two writers in the Kitchen. Chapter three focuses on the gender discourse in the Kitchen. In the two Kitchen, families, women, There is a complex interlacing between the consciousness of right and the relationship between family and person in the kitchen. Xu Kun shows the inheritance of the traditional male-dominated discourse in the kitchen, and Gibbon tries to subvert the inherent structure of the nuclear family, and in anticipation of the order of women's rights, he tries to subvert the inherent structure of the nuclear family. The themes of the two works can reflect each other, pointing to the passive exile and active departure of women respectively. Chapter 4th deeply explores the love discourse in the "kitchen" space, and discusses the catalytic role of food in love. This paper analyzes the positive and negative expressions of the spiritual relationship between Xu Kun and Jippenana. The former is puzzled by the business society's erosion of the pure essence of love, while the latter tries to use the abnormal mode of gender communication. The conclusion affirms Xu Kun's critique of reality and Jippenana's idealistic spirit, and reveals the different but closely related feminine literary temperament of China and Japan embodied in the two works. And for the development of their own female literature to provide enlightenment and guiding significance.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：I106.4-03

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