《尤利西斯》的对话与狂欢化艺术

发布时间：2018-06-16 14:33

本文选题：《尤利西斯》 + 互文性对话　；参考：《上海外国语大学》2013年博士论文

【摘要】：《尤利西斯》是著名爱尔兰作家詹姆斯·乔伊斯的杰作，是一部实验与革新之作。其对话与狂欢化特征是这部小说的独特艺术特征。国内在这个方面研究这部小说起步既晚，成果也少。本论文在巴赫金的对话理论框架下，阐述这部小说中的互文性对话和确立小说复调特征的对话性叙事声音的艺术特征；在巴赫金的狂欢化理论框架下，论述小说中语言、人物和形象狂欢化艺术特征。本论文根据巴赫金的对话理论和狂欢化理论论述这部小说的互文性对话、对话性叙事声音，语言、人物及形象狂欢化艺术特征，并且分析它们的艺术效果。这是研究这部小说的新视角。本论文包括绪论、四章正文和结论。绪论首先简要介绍詹姆斯·乔伊斯的文学成就以及《尤利西斯》在世界文坛的重要地位。绪论第一部分陈述论文的论点，即：《尤利西斯》的对话与狂欢化特征是这部小说的重要艺术特征，它们颠覆了传统小说的创作风格。第二部分回顾中西方《尤利西斯》批评,包括中西方在巴赫金的对话理论与狂欢化理论视角下的《尤利西斯》批评状况。西方从此视角研究《尤利西斯》有一定的成果，但中国从此视角研究《尤利西斯》只有寥寥几篇论文，尚无专著面世。第三部分介绍巴赫金的对话理论与狂欢化理论的定义和理论框架。第四部分简要介绍论文的目的和组成部分。本论文的目的是探讨《尤利西斯》这部小说的对话和狂欢化艺术特征及其独特艺术效果，以弥补国内这方面研究之不足。本论文正文共四章。第一章论述《尤利西斯》中的互文性对话的艺术特征及其艺术效果。本章根据巴赫金关于文本互文性的对话理论和朱莉亚·克里斯蒂娃的互文性理论，阐述《尤利西斯》与其他多个文学作品的互文性对话关系。本章指出：《尤利西斯》与荷马的《奥德赛》之间具有互文性对话关系，它同这部史诗结构上的对话具有强烈的美学效果。这部小说与《奥德赛》结构上的互文性对话取得了体现圣·托马斯·阿奎那的美的三要素理论中的“完整”与“和谐”的美学效果。《尤利西斯》与《奥德赛》结构上的互文性对话还反映了让·皮亚杰的结构概念所包含的三个主要观念:“完整”、“转换”和“自我调节”，它的结构显现出整体美和平衡美。此外，本章还论述《尤利西斯》同威廉·莎士比亚的作品，如《哈姆雷特》、《麦克白》、《威尼斯商人》等，亨利克·易卜生的《皮尔·金特》，扎赫尔-马佐赫的《穿皮大衣的维纳斯》，弗朗索瓦·拉伯雷的《巨人传》以及《圣经》的互文性对话关系。本章还讨论《尤利西斯》与乔伊斯的《一个青年艺术家的画像》之间的互文性对话关系。本章指出：《尤利西斯》是《画像》中故事的继续。斯蒂芬在《画像》中倡导的艺术思想——“非人格化”以及在《画像》中运用的意识流技巧在《尤利西斯》中得到进一步运用。小说中大量使用引文、改编引文、暗指等取得了一个重要的艺术效果——异质性，这同时展现了乔伊斯的艺术独创性。第二章论述确立《尤利西斯》复调特征的对话性叙事声音的艺术特征及其艺术效果。根据巴赫金对话理论中的重要概念“复调”，本章论述由于乔伊斯少量使用零度聚焦型和外聚焦型视角，但大量使用内聚焦型视角小说中所出现的复调特征。内聚焦叙述允许人物在没有任何其他的叙事声音干预下自由地展现他们的思维活动，他们的独立声音同其他任何声音处于平等地位，由此确立了这部小说的复调特征。此外，《尤利西斯》中出现了叙事角频繁变换的情况，在某些段落中叙事者的声音和不同人物的声音混合在一起。这些声音互不干预，相互之间存在着一种平等的对话关系，并极大地增强了《尤利西斯》的复调特征。本章还根据巴赫金对话理论中的重要概念“双声语”，讨论《尤利西斯》的人物内心独白中的隐藏性对话的双声语现象。隐藏性对话往往出现在一个人物的头脑中，第二个说话人的陈述省掉了。人物经常会同自己说话，或者对一些不在场的人的问题作出回应。人物内心独白中的双声语现象增加了这部小说的复调特征。本章指出：叙事者声音从内聚焦叙述中退出，取得了一个重要的艺术效果——非人格化。第三章运用巴赫金的狂欢化理论论述《尤利西斯》的语言狂欢化艺术特征。本章指出：当叛逆、颠覆秩序和“翻了个世界”这样的狂欢精神进入《尤利西斯》时，这部小说的语言形式所表现出的颠覆性狂欢力量彻底颠覆了传统小说的语言风格。乔伊斯采用不同的语言风格来反映《尤利西斯》每一章的主题，运用符合不同人物内心独白特点的词汇和句法，打破了传统小说中语言风格的单调性和统一性。此外，本章还讨论了《尤利西斯》中的词汇变异、语音变异、书写变异等语言变异形式，以及乔伊斯所运用的头韵法、拟声法及双关语等别具一格的修辞手法。乔伊斯还运用了一些像回文、交错配列法及音位转换这样一些很少用于小说中的非寻常修辞手法,取得了独特的艺术效果。以上这些反传统语言形式颠覆了传统小说的语言规范，显示出强烈的狂欢叛逆精神，使小说语言狂欢化。这些反传统语言特征取得了一个重要的艺术效果——陌生化。第四章运用巴赫金的狂欢化理论论述《尤利西斯》中人物和形象狂欢化的艺术特征。本章指出：当滑稽、怪诞、“身体下部”、亵渎、加冕和脱冕等狂欢元素进入《尤利西斯》时，这部小说中的人物和形象便呈现出狂欢化特征。斯蒂芬的叛逆行为、疯狂行为及与身体废物排泄有关的行为，布卢姆怪异的食物偏好及与身体废物排泄或身体下部有关的行为以及莫莉的淫秽语言等中都包含了狂欢元素，使人物描写取得了狂欢化的艺术效果。此外，本章还讨论《尤利西斯》中出现的形象狂欢化。自由联想与蒙太奇手法的运用打乱了呈现小说中情景或事件的时间顺序和空间顺序，从而创造了一个狂欢化时空体。在这个时空体中，无数个形象不按时间顺序或空间顺序一个接一个地迅速出现在读者面前，出现了形象的狂欢化。值得注意的是，滑稽、怪诞和亵渎的形象出现在人物的自由联想中。本章还讨论小说中狂欢式餐馆和夜市里的滑稽、荒唐可笑、怪诞的狂欢化形象以及狂欢式加冕与脱冕形象。布卢姆想象自己成为一位市长，失去市长头衔以及在小说末尾莫莉内心独白中对布卢姆求婚请求所说的“好”都包含有加冕和脱冕的狂欢元素。论文的结论部分对整篇论文进行了简要总结，表明《尤利西斯》中的对话与狂欢化特征是这部小说的重要艺术特征，巴赫金的对话理论与狂欢化理论很适合分析《尤利西斯》，它成为巴赫金式分析的一个良好范例。论文得出结论：这部小说中的互文性对话、对话性叙事声音，以及语言、人物和形象狂欢化是传统小说中难以寻觅的艺术特征。《尤利西斯》的独特对话与狂欢化艺术特征彻底颠覆了传统小说的创作风格。结论部分还指出了《尤利西斯》的对话与狂欢化艺术特征的不足。尽管如此，，这部小说的对话与狂欢化特征展现了乔伊斯在小说创作上的精湛技艺和创造力，是小说艺术上的创新。这些对话与狂欢化艺术特征使这部小说成为实验与革新之作。正是这些对话与狂欢化艺术特征，使得这部小说成为世界文学宝库里的一朵奇葩。
[Abstract]:< Ulysses > is a masterpiece of James Joyce, a famous Irish writer. It is an experiment and innovation. Its dialogues and Carnival features are the unique artistic features of this novel. In this respect, the study of the novel started late, and the results are few. This thesis expounds the novel in the framework of Bakhtin's dialogue theory. Intertextual dialogue and the artistic features of a dialogic narrative that establishes the characteristics of the Polyphony of fiction; in the framework of Bakhtin's carnival theory, the art features of the carnival of language, characters and images are discussed. This thesis is based on Bakhtin's dialogue theory and carnival theory to discuss intertextual dialogues and dialogical voices in the novel. Language, characters and images revelry in artistic features and analyze their artistic effects. This is a new perspective for studying this novel.
This paper includes the introduction, the four chapter and the conclusion.
First, the introduction briefly introduces the literary achievements of James Joyce and the important position of Ulysses in the world of literature. The first part of the introduction states the argument of the thesis, that is, the dialogic and Carnival features of "Ulysses >" are the important artistic features of this novel, which subvert the creative style of the traditional novels. The second parts of the review are in retrospect. Western < Ulysses > criticism, including the criticism of Ulysses under the perspective of Bakhtin's theory of dialogue and the theory of carnival. The western view of "Ulysses" has some achievements from this perspective. But from this perspective, there are only a few papers on Ulysses, but there is no monograph. The third part introduces Bakhtin. The definition and theoretical framework of the theory of dialogue and carnival. The fourth part briefly introduces the purpose and components of the paper. The purpose of this thesis is to explore the artistic features and unique artistic effects of the dialogue and Carnival of the novel "Ulysses >" to make up for the lack of research in this field. The main body of this thesis is four chapters.
The first chapter discusses the artistic features and artistic effects of intertextual dialogue in "Ulysses >". This chapter expounds the Intertextuality between Ulysses > and many other literary works according to Bakhtin's intertextuality and Julia Christiva's intertextuality theory. This chapter points out that < Ulysses > and Homer The dialogue between Odyssey and Odyssey has a strong aesthetic effect on the structure of the epic. The intertextual dialogue between the novel and the Odyssey structure has achieved the aesthetic effect of "integrity" and "harmony" in the three element theory of San Thomas Aquinas's beauty. < Ulysses > and < Austria. DESAY > Structural intertextual dialogue also reflects the three main concepts of Jean Piaget's structural concept: "integrity", "conversion" and "self regulation". Its structure shows the beauty of the whole and the beauty of balance. In addition, this chapter also deals with the works of Ulysses and William Ssha Sbiya, such as Hamlet, Macbeth, and Sbiya. This chapter also discusses the intertextual dialogue between Ulysses > and the portrait of a young artist in Joyce. This chapter also refers to the relationship between Ulysses > and the portrait of a young artist in Joyce. This chapter also refers to the relationship between Ulysses > and the portrait of a young artist in Joyce. Out: < Ulysses > is the continuation of the story in the portrait. The art thought that Stephen advocated in the portrait, "non personification" and the stream of consciousness used in the portrait, were further used in < Ulysses >. Qualitative, it also shows Joyce's artistic originality.
The second chapter discusses the artistic features and artistic effects of establishing the dialogic narrative voice of "Ulysses > polyphony". According to the important concept of "polyphony" in Bakhtin's Dialogic theory, this chapter discusses the Polyphony in the novel with a small amount of focusing and external focus, which Joyce uses in a small amount of focus type and external focus. Characteristics. The internal focus narration allows the characters to freely display their thinking activities without any other narrative voice, their independent sound is in the equal position with any other sound, thus establishing the Polyphony characteristics of the novel. In addition, "Ulysses" shows the frequent changes of the narrative angle in some paragraphs. The voice of the narrator and the voices of the different characters are mixed together. These voices do not interfere with each other. There is an equal dialogue between each other, and it greatly strengthens the Polyphony characteristics of "Ulysses >". This chapter also discusses the inner monologue of the character < Ulysses > according to the important concept of Bakhtin's dialogue theory. The double speech phenomenon of hidden dialogues. Hidden dialogues often appear in the mind of a person. The statements of the second speakers are omitted. The characters often speak to themselves or respond to the problems of some absent people. The double tone in the character's inner monologue increases the Polyphony characteristics of the novel. It is pointed out that the narrator's voice withdraws from the internal focusing narrative, which has achieved an important artistic effect - non personification.
The third chapter uses Bakhtin's carnival theory to discuss the artistic features of the language Carnival of "Ulysses >". This chapter points out that when the carnival spirit of rebellion, subversive order and "turning the world" into < Ulysses >, the subversive revelry displayed in the language form of this novel completely subverts the language of traditional novels. Style. Joyce uses different language styles to reflect the theme of each chapter in < Ulysses >, and uses words and syntax which conforms to the characters of different characters' inner monologue. It breaks the monotonicity and unity of the language style in the traditional novels. In addition, this chapter also discusses the language variation, phonetic variation, and writing variation in the < Ulysses >. Variant forms, as well as the alliteration, onomatopoeia and pun used by Joyce. Joyce has also used some unusual rhetorical devices, such as palindrome, interlacing, and phoneme conversion, which are rarely used in the novel, and have achieved unique artistic effects. These anti traditional forms of language have been subverted. The language standard of the traditional novels shows a strong spirit of Carnival and rebellion, which makes the language of the novel carnival. These anti traditional language features have achieved an important artistic effect - defamiliarization.
The fourth chapter uses Bakhtin's carnival theory to discuss the artistic features of the carnival of characters and images in Ulysses. This chapter points out that when the carnival elements such as funny, grotesque, "lower body", blasphemy, coronation and coronation entering into < Ulysses >, the characters and images of this novel are carnival. Stephen's rebellion For the behavior of madness and the excretion of body waste, Bloom's weird food preference and the behavior associated with the excretion of body waste or the lower part of the body, and Molly's obscene language include the carnival elements, which make the portrayal of the artistic effect of the portrayal. In addition, this chapter also discusses the form of < Ulysses >. Like carnival, the use of free association and montage has disrupted the time and space sequence of the scenes or events in the novel, thus creating a carnival space-time body. In this space-time body, countless images appear quickly in front of the reader, without the order of time or space. It is worth noting that the image of funny, grotesque and blasphemy appears in the free association of the characters. This chapter also discusses the funny, ridiculous, grotesque and Carnival images of the carnival restaurants and the night market in the novel, and the revelry coronation and coronation image. Bloom imagined himself as a mayor, lost the Title of mayor and in the novel. Matsuo Mori's inner monologue contains "Carnival" elements of crowning and crowning out of Bloom's request for marriage.
The conclusion of the thesis is a brief summary of the whole paper, which shows that the dialogue and Carnival in Ulysses is an important artistic feature of this novel. Bakhtin's dialogue theory and the carnival theory are very suitable for the analysis of < Ulysses >. It has become a good example of Bakhtin's analysis. Intertextuality dialogue, dialogic narrative voice, and language, the carnival of characters and images are the artistic features difficult to find in traditional novels. The unique dialogue and Carnival artistic features of Ulysses completely subvert the creative style of traditional novels. Conclusion part also points out the artistic features of the dialogue and Carnival of < Ulysses >. In spite of this, the dialogues and Carnival features of the novel show Joyce's exquisite craftsmanship and creativity in the novel and the artistic innovation of the novel. These dialogues and Carnival artistic features make the novel an experiment and innovation. It is these dialogues and Carnival artistic features that make the novel become a novel. A wonderful flower in the treasure house of world literature.
【学位授予单位】：上海外国语大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I562.074

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