中德“灰姑娘”文本叙事比较研究

发布时间：2018-03-29 02:18

本文选题：《灰姑娘》　切入点：《叶限》　出处：《江西财经大学》2013年硕士论文

【摘要】：格林童话故事一直以来受到全世界人民的喜爱，《灰姑娘》作为其中的名篇更是被翻译成多国文字广为流传，而很少有人知道早在灰姑娘诞生的一千多年前，中国的笔记体志怪小说《酉阳杂俎》中也出现了这样一位灰姑娘——叶限。近年来中国学界对《叶限》的研究兴趣有增无减，但少有文章从叙事学角度对中德两版灰姑娘的叙事文本进行比较分析，从而发掘其背后隐藏的不同的叙述方式及价值观。本文以结构主义叙事学为主体框架，从故事和叙述两个层面对灰姑娘的这两个版本进行全面而深入的比较。正文第一部分借用民俗学的母题剖析《灰姑娘》和《叶限》中共同的五个基本母题，并对人物形象进行逐一对比，发现《叶限》在创作中受佛教“因果报应”观念的影响，崇尚善恶有报；而《灰姑娘》的创作浸淫于基督教的原罪与拯救的宗教观，崇尚美德有报。此外，，《叶限》和《灰姑娘》中女主人公在改变自己生活处境时的主动与被动凸显了中国与西方文化的差异，即：中国人的美德是静的美德，主张宽和柔顺、知足常乐；西方人的美德是动的美德，主张希望乐观、进取不懈。陀汗王利用强权占有叶限与鱼骨体现了中国封建社会“家天下”的思想和皇权大于人权的观念，而王子依靠个人能力坚持不懈地寻找心动女孩的情节则体现了西方国家个人本位的价值观。接着正文第二部分运用格雷马斯叙事语法里的六大行动元逐个分析《灰姑娘》和《叶限》中的人物角色，发现虽然《叶限》的主要人物数目与《灰姑娘》几乎持平，但是《叶限》涉及的事件更为多样，呈现出的人物动态关系更为复杂。本文采用文本细读的方式，总结出《灰姑娘》的叙述结构属于三段式，《叶限》的叙述结构属于因果式。通过灰姑娘型故事中叙述身份的考察，可以发掘出《叶限》的叙事形态属于典型的传述，叙述者表现为显性；《灰姑娘》秉承模仿的叙事传统，叙述者隐匿在文字背后，表现为隐性。最后，就《灰姑娘》和《叶限》及它们分属的两大文体——童话与笔记体志怪小说的叙事特征进行了详细比对，得出结论：《叶限》的叙事风格崇尚简约；《灰姑娘》稍显繁复，有着丰富的叙述技巧，形成了比较成熟的叙事风格。
[Abstract]:Green fairy tales have been loved by people all over the world, and Cinderella, as one of them, has been translated into many languages, and few people know that Cinderella was born more than a thousand years ago. Such a Cinderella is also present in the Chinese novel Youyang Zaizu. In recent years, there has been a growing interest in the study of Ye Ji in Chinese academic circles. However, few articles compare and analyze the two versions of Cinderella's narrative texts from the perspective of narratology, so as to explore the different narrative ways and values hidden behind them. This paper takes structuralism narratology as the main frame, This paper makes a comprehensive and in-depth comparison between the two versions of Cinderella from the two aspects of story and narration. The first part of the text uses the motif of folklore to analyze the five common motifs in Cinderella and Leaf limit. By comparing the characters one by one, we find that Ye Jian is influenced by the Buddhist concept of "karma" and advocates good and evil, while Cinderella's creation is immersed in the religious view of Christianity's original sin and salvation. In addition, the active and passive nature of the heroine in changing her life situation highlights the difference between Chinese and Western cultures, that is, the virtue of the Chinese is a quiet virtue, which advocates leniency and meekness. The virtues of Westerners are moving virtues, advocating optimism and unremitting enterprising. King Tuohan used his might to occupy leaf limits and fish bones, which embodied the idea that the "family world" of China's feudal society and the idea that imperial power was greater than human rights. The prince relies on the individual ability to persevere in searching for the girl's heart, which embodies the individual values of the western countries. Then the second part of the text uses the six action elements in Graymas' narrative grammar to analyze the characters in Cinderella and Leaf limit one by one, and finds that the number of main characters is almost equal to that of Cinderella. However, the events involved in leaf limit are more diverse and the dynamic relationship of characters is more complex. In this paper, the author concludes that the narrative structure of Cinderella belongs to three sections, and the narrative structure of Leaf limit belongs to causality. Through the investigation of the narrative identity in Cinderella story, We can find out that the narrative form of "leaf limit" belongs to typical narration, the narrator is manifest as dominant, and "Cinderella" inherits the narrative tradition of imitation, and the narrator hides behind the text and shows recessive. Finally, the author makes a detailed comparison of the narrative characteristics of Cinderella and Ye Jian and their two major genres, fairy tales and note-writing novels, and draws a conclusion that the narrative style of "Ye Jian" advocates simplicity; Cinderella is a little more complicated. With rich narrative skills, a more mature narrative style.
【学位授予单位】：江西财经大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I106;I0-03

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