论石黑一雄的创伤书写
发布时间：2018-11-29 08:30
【摘要】：石黑一雄是英国当代著名小说家之一,他与奈保尔(V.S.Naipaul)、拉什迪(Salman Rushdie)并称为“英国文坛移民三雄”。作为一名日裔英籍(移民)作家,他与其他跨文化书写的作家有着截然不同的成长经历。石黑一雄自小接受的是正统的英国教育,鲜少受到日本文化的影响。正因为他很小就移民到了国外,没有过多关于母国的记忆,也就导致他的作品中没有其他跨文化作家作品中那样过多的民族印记。因此,同后两者小说鲜明的后殖民批判色彩相比,他的作品则是以朦胧而模糊的笔触展现现代社会中普通人饱受创伤的内心世界,观照了重大事件带给普通人的普遍性伤害而在文坛独树一帜。本篇论文以石黑一雄的《远山淡影》、《浮世画家》、《长日留痕》、《上海孤儿》以及《别让我走》五部小说为研究对象,探究石黑一雄对“创伤”这一主题的处理。全文共分为绪论、正文和结语三个部分。绪论,主要说明研究石黑一雄作品的意义,以及国内外的研究现状和本文的写作目的。正文分为三个章节:第一章,主要讨论石黑一雄笔下的创伤主题:新与旧的对立冲突以及对儿童创伤的关注。石黑一雄一直以“国际主义作家”自诩,他力图写作一本对于生活在任何一个文化背景之下的人们都能够产生意义的小说,因此,笔者通过对个别的文本的分析寻找石黑一雄希望传达的具有共性的普遍性创伤——那些拥有权力的阶层对弱势群体施加了伤害,但是由弱势群体主导的社会价值取向又会变成利器刺向权力阶层。现代社会中,人人必遭创伤。第二章,主要讨论石黑一雄书写“创伤”时采用的创作手法:创伤现实主义和象征的运用。创伤现实主义展示了创伤对人内心的深度侵袭,开掘了角色丰富的内心世界;象征则暗示了创伤的传递和蔓延。基于这两种创作手法,才赋予了石黑一雄小说独特的架构。第三章,主要讨论石黑一雄这种对“创伤”的书写模式具有的审美意义。他的作品没有其他移民作家作品中那样强烈的民族性特质、历史参与感,他始终在有距离地审视人类遭际,但这并不影响他作品的深刻性。正因如此,又使他的作品呈现出朦胧而模糊,清新又诗意的美感。结语部分,总观石黑一雄的作品,他观照了当今世界秩序对普通大众造成的心理创伤。利用创伤现实主义的手法,让叙述者在过去与现在之间进行自由的时空旅行,通过交错的片段式回忆深度展现了人饱受创伤的内心世界,同时他又用一种质朴的笔调刻画了敏感、矜持、不断思考自己过去的小说主人公形象。石黑一雄的“国际化写作”是与其他后殖民作家完全不同的写作方式,他依旧没有放弃人性中温情的部分,人只要勇敢地正视过去犯的错误,也就能够获得救赎。
[Abstract]:Ishihiro is one of the most famous contemporary British novelists who, along with V.S.Naipaul and Rushdie (Salman Rushdie), is known as "the three Great Britain Literary immigrants." As a Japanese-born British (immigrant) writer, he grew up in a very different way from other cross-cultural writers. Ishihiro received an orthodox British education as a child, rarely influenced by Japanese culture. Because he emigrated to a foreign country when he was very young, he did not have too much memory of his home country, which led to the lack of too much national imprint in his works as in the works of other cross-cultural writers. Therefore, compared with the post-colonial critique of the latter two novels, his works show the traumatized inner world of ordinary people in modern society with obscure and vague strokes. It is unique in the literary world because of the universal injury caused by the major events. In this paper, five novels by Ishihiro Ishiko, the floating Age painter, the long Day scar, the Shanghai Orphan and the Don't Let me go, are taken as the research objects to explore the treatment of the theme of "Trauma" by Ishihiro Ishiko. The full text is divided into three parts: introduction, text and conclusion. The introduction mainly explains the significance of studying Ishihiro's works, the present research situation at home and abroad and the purpose of this paper. The text is divided into three chapters: the first chapter mainly discusses the theme of trauma written by Ishihiro: the conflict between new and old and the focus on child trauma. Ishihiro has always prided himself as an "internationalist writer," trying to write a novel that can make sense to people living in any cultural context, so, Through the analysis of individual texts, the author looks for the universal trauma that Ishihiro wishes to convey-those who have the power to inflict harm on the vulnerable. But the social value orientation dominated by the weak groups will become a sharp weapon to the power class. In modern society, everyone is traumatized. The second chapter mainly discusses the writing techniques used by Ishihiro in writing Trauma: trauma realism and the use of symbolism. Trauma realism reveals the deep invasion of trauma to the human heart and excavates the inner world with rich characters, while symbolism implies the transmission and spread of trauma. Based on these two creative techniques, Ishihiro Yicong's novel is endowed with a unique framework. The third chapter mainly discusses the aesthetic significance of Ishihiro's writing mode of Trauma. His works do not have the strong national character and the sense of historical participation in the works of other immigrant writers. He has always looked at the human suffering from a distance, but this does not affect the profundity of his works. Because of this, his works show a vague, fresh and poetic beauty. In the conclusion, the works of Ishihiro, who observe the psychological trauma caused by the current world order to the general public. Using traumatic realism, the narrator travels freely between the past and the present, revealing the traumatic inner world through the interlaced, piecemeal depth of memory. At the same time, he portrays sensitivity and reserve with a simple style, constantly thinking about his past heroine image. Ishihiro's "international writing" is completely different from that of other post-colonial writers. He still does not give up the tender part of human nature. He can be redeemed if he is brave enough to face up to the mistakes made in the past.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I561.074
本文编号：2364508
[Abstract]:Ishihiro is one of the most famous contemporary British novelists who, along with V.S.Naipaul and Rushdie (Salman Rushdie), is known as "the three Great Britain Literary immigrants." As a Japanese-born British (immigrant) writer, he grew up in a very different way from other cross-cultural writers. Ishihiro received an orthodox British education as a child, rarely influenced by Japanese culture. Because he emigrated to a foreign country when he was very young, he did not have too much memory of his home country, which led to the lack of too much national imprint in his works as in the works of other cross-cultural writers. Therefore, compared with the post-colonial critique of the latter two novels, his works show the traumatized inner world of ordinary people in modern society with obscure and vague strokes. It is unique in the literary world because of the universal injury caused by the major events. In this paper, five novels by Ishihiro Ishiko, the floating Age painter, the long Day scar, the Shanghai Orphan and the Don't Let me go, are taken as the research objects to explore the treatment of the theme of "Trauma" by Ishihiro Ishiko. The full text is divided into three parts: introduction, text and conclusion. The introduction mainly explains the significance of studying Ishihiro's works, the present research situation at home and abroad and the purpose of this paper. The text is divided into three chapters: the first chapter mainly discusses the theme of trauma written by Ishihiro: the conflict between new and old and the focus on child trauma. Ishihiro has always prided himself as an "internationalist writer," trying to write a novel that can make sense to people living in any cultural context, so, Through the analysis of individual texts, the author looks for the universal trauma that Ishihiro wishes to convey-those who have the power to inflict harm on the vulnerable. But the social value orientation dominated by the weak groups will become a sharp weapon to the power class. In modern society, everyone is traumatized. The second chapter mainly discusses the writing techniques used by Ishihiro in writing Trauma: trauma realism and the use of symbolism. Trauma realism reveals the deep invasion of trauma to the human heart and excavates the inner world with rich characters, while symbolism implies the transmission and spread of trauma. Based on these two creative techniques, Ishihiro Yicong's novel is endowed with a unique framework. The third chapter mainly discusses the aesthetic significance of Ishihiro's writing mode of Trauma. His works do not have the strong national character and the sense of historical participation in the works of other immigrant writers. He has always looked at the human suffering from a distance, but this does not affect the profundity of his works. Because of this, his works show a vague, fresh and poetic beauty. In the conclusion, the works of Ishihiro, who observe the psychological trauma caused by the current world order to the general public. Using traumatic realism, the narrator travels freely between the past and the present, revealing the traumatic inner world through the interlaced, piecemeal depth of memory. At the same time, he portrays sensitivity and reserve with a simple style, constantly thinking about his past heroine image. Ishihiro's "international writing" is completely different from that of other post-colonial writers. He still does not give up the tender part of human nature. He can be redeemed if he is brave enough to face up to the mistakes made in the past.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I561.074
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