从形象学的角度浅析杜拉斯笔下中国男子的形象

发布时间：2018-05-14 23:03

本文选题：中国男人 + 他者形象　；参考：《四川外国语大学》2015年硕士论文

【摘要】：在杜拉斯的作品中,我们能明显感受到一种深深的“东方情结”。特别是为她赢得1984年龚古尔文学奖的作品《情人》,这部带有自传色彩的爱情小说中,尤为能够突出这种情结。特别值得注意的是,杜拉斯在不同的时期,分别用三部小说(《太平洋大堤》,《情人》,《来自中国北方的情人》),反复书写了这一段发生在印度支那,和一名中国男子的令她终生难忘的爱情故事。在这三部小说中,这名中国男子的形象发生了几乎颠覆性的变化。本文从形象学的角度出发,对三部小说中中国男子分别进行了解读。三个同一中国男子的不同形象,是对特定历史时期中国文化现实的描写,同时折射出西方人眼中中国的变化。而中国男子这一形象也并非杜拉斯的个人臆想,而是杜拉斯所属文化环境和这一特定文化群体的共同想象——“社会集体想象物”的产物。在对“中国男人”这一形象的刻画的同时,必然反映出杜拉斯对本国民族的审视,进而生成了创作主体的自我形象。再者,他者形象也是创作主体情感和意识形态的混合物,在杜拉斯对中国男子这一形象的反复构建中也反映出了她对自身认识的演变。
[Abstract]:In Duras' work, we can clearly feel a deep "oriental complex". "Lover", which won her the 1984 Gongul Prize for Literature, is especially prominent in this autobiographical love novel. It is particularly noteworthy that Duras, in three novels (Pacific Dike, Lover, and Lover from Northern China), has repeatedly written this passage in Indochina at different times. And a Chinese man's unforgettable love story. In these three novels, the image of the Chinese man has undergone almost subversive changes. From the perspective of image science, this paper interprets the three novels of Chinese men. The different images of the three same Chinese men are a description of the Chinese cultural reality in a specific historical period, and also reflect the change of Westerners' eyes on China. And the image of Chinese man is not Duras' personal imagination, but the product of Duras' cultural environment and the common imagination of this particular cultural group-"social collective imagination". While portraying the image of "Chinese man", Duras inevitably reflects Duras' examination of his own nation and then produces the self-image of the creative subject. Furthermore, the other image is also a mixture of emotion and ideology of the creative subject, which reflects the evolution of her own understanding in Duras' repeated construction of the image of Chinese man.
【学位授予单位】：四川外国语大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I565.074

【相似文献】