巴赫金对话理论视阈下的《荷兰人》

发布时间：2018-05-04 22:28

本文选题：《荷兰人》 + 对话理论　；参考：《郑州大学》2013年硕士论文

【摘要】：著名的非裔美国剧作家、诗人、散文家、小说家伊玛目·阿米利·巴拉卡,是美国黑人戏剧和美国黑人艺术运动的先驱和积极倡导者。他的代表作《荷兰人》倡导了民族身份和自我实现的主题,为巴拉卡赢得了奥比奖,并奠定了他在世界文学界的地位。这部戏剧以20世纪60年代的美国为背景,描述了一位中年白人妇女和一位黑人青年在地铁从相互调情到产生争执,最后黑人被白人无情杀害的过程。巴拉卡向我们呈现了在白人主导的社会里,黑人所遭受的社会不公和偏见。与巴拉卡的其他作品一样,在该剧中,他积极主张黑人联合起来,为获得平等的民主权利而战。巴赫金的对话理论兴起于20世纪末期,它打破了传统的把对话囿于修辞学的观点,把对话确立为一种说话者和听者、作者与读者不同观点间相互交流、争论、创造的过程。论文运用巴赫金对话理论中的核心概念,如“他者”、“大型对话”、“微型对话”、“未完成性”等,探讨《荷兰人》的革命主题和组织结构,分析巴拉卡的民族意识和革命主张。论文除引言与结论部分外,分为四章。引言部分概述了剧作家伊玛目·阿米利·巴拉卡以及他的主要作品,介绍了国内外对《荷兰人》的研究现状,并点明该研究的意义。第一章对巴赫金对话理论的发展和理论的主要概念作了介绍。巴赫金将对话从修辞学的领域解放出来,从具体对话中提取出了富于交流精神的“对话性”的概念,并重新确立了一种说话者与听者的平等对话关系。“他者话语”的出现为对话的进行提供了前提。而对戏剧中大型对话和微型对话两种模式的分析,则探讨了戏剧的组织结构和主人公意识的发展。另外,未完成性和潜对话赋予了复调型作品开放性的特征。第二章从对话基础和对话目的的角度出发,分析了《荷兰人》中人物间不同层次的差异,以及他们进行对话的意图。作为不同社会群体的代表,卢拉和克雷在经济条件、教育水平和文化意识上的差异,为对话的进行提供了先决条件。这种语言争执现象正是双方试图合理化己方文化信仰、排斥对方信仰的表现。第三章在对话的两种模式之内,分析了《荷兰人》的组织结构和人物意识的发展。从大型对话的角度分析卢拉和克雷从调情到斗争的过程,论文揭示了双方心理活动的发展。而微型对话反应了克雷代表的非裔美国民众的斗争意识和革命激情。第四章运用未完成性和潜对话的概念,解读了《荷兰人》的开放性和不确定性特征。通过分析卢拉和克雷变幻莫测的人物形象、语言的未完成性以及巴拉卡的潜对话,论文揭示了《荷兰人》的深刻现实意义。最后是结论部分。从巴赫金的对话理论角度解读巴拉卡及其剧作《荷兰人》,能更好地探讨戏剧中的对话性、对话关系、未完成性等特征。不同文化背景的双方,应该摒弃文化歧视和文化压制的态度,将差异付诸对话,有效地解决文化争端的问题。
[Abstract]:The famous African American playwright, poet, essayist, novelist Imam Amili Baraka, is a pioneer and active advocate of black American drama and American black art movement. His masterpiece, the Dutch man, advocated the theme of national identity and self realization, won the Obi prize for Bafa, and laid him in the world literature. The play, in the context of the United States in the 1960s, describes the process of a middle-aged white woman and a black youth on the subway from one another to a dispute, and the process of the merciless killing of the blacks by the white people. Baraka presents us with the social unfairness and prejudice that the black people have suffered in the white dominated society. Like Baraka's other works, he advocated black people to unite and fight for equal democratic rights.
Bakhtin's theory of dialogue rose in the late twentieth Century. It broke the traditional view that dialogue was limited by rhetoric. The dialogue was established as a speaker and listener, the author and the reader exchange, argue, and create the process of creation. The paper uses the core concepts of Bakhtin's dialogue theory, such as "the other", "large dialogue", "Micro dialogue", "unfinished" and so on, to explore the revolutionary theme and organizational structure of the Dutch, and analyze Baraka's national consciousness and revolutionary ideas.
In addition to the introduction and the conclusion part, the thesis is divided into four chapters.
The introduction gives an overview of the playwright Imam Amili Baraka and his main works, and introduces the research status of the "Dutch man" at home and abroad, and points out the significance of the study.
The first chapter introduces the development of Bakhtin's dialogue theory and the main concept of the theory. Bakhtin liberated the dialogue from the field of rhetoric, extracted the concept of "dialogism" rich in the spirit of communication from the specific dialogue, and reestablished an equal dialogue relationship between the speaker and the listener. The appearance of "the other" In order to provide the premise for the dialogue, the analysis of the two modes of large dialogues and micro dialogues in the drama discusses the organizational structure of the drama and the development of the consciousness of the protagonist. In addition, the unfinished and latent dialogues give the characteristics of the open character of the polyphonic works.
The second chapter, from the perspective of the basis of dialogue and the purpose of dialogue, analyzes the differences between the different levels of the characters in the Dutch people and the intentions of their dialogues. As representatives of different social groups, the differences between Lula and Clay on economic conditions, educational level and cultural awareness provide the preconditions for the dialogue. The argument is a manifestation of both sides trying to rationalize their cultural beliefs and exclude their beliefs.
The third chapter analyzes the organizational structure of the Dutch and the development of the character consciousness in the two modes of the dialogues. From the perspective of large dialogues, the paper analyses the process of Lula and Klee from flirting to the struggle. The thesis reveals the development of the psychological activities of the two sides, and the mini dialogue reflects the struggle consciousness and revolution of the African American people of klegeneration. Passion.
The fourth chapter, using the concept of unfinished and latent dialogue, interprets the openness and uncertainty characteristics of the Dutch man. Through the analysis of the unpredictable character of Lula and clay, the unfinished character of language and the potential dialogue of Balak, the thesis reveals the profound realistic significance of the Dutch.
The final part is the conclusion. From the angle of Bakhtin's dialogue theory, reading Baraka and his plays, the Dutch, can better discuss the dialogism, dialogue and unfinished character in the drama. The two sides of different cultural backgrounds should abandon the attitude of cultural discrimination and cultural suppression, put the differences into dialogue, and effectively solve cultural disputes. Problem.

【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I712.073

【参考文献】