《红楼梦》与《源氏物语》时空叙事比较研究

发布时间：2018-07-25 19:08

【摘要】：空间和时间表示的都是事物间的位置关系,时间用以描述动作或事件发生的先后次序,空间用以描述物体的位形。《红楼梦》与《源氏物语》同属传统的情节小说,都遵循时间的自然持续和与情节要求相对应的空间转换,按主人公的先后经历,来安排情节的开端、发展、高潮和结局。两部小说缺乏现当代小说时空交错的叙事特点,但都不乏相对同时代小说来说先时的叙事技巧。研究分为以下四个部分。一、线性时间叙事技巧对比研究。“在现实世界里,即使恰好在同一时间里发生了两件事,用语言表现它们时,也就必须采取先说其中一件事,然后再说另一件事的形式；或者部分交替着说两件事。总之都需要变成线性形式。”《红楼梦》与《源氏物语》都继承发扬《春秋》与《史记》两种文学体裁的线性时间叙事特征,将朝代纪年、世代时间与人物年纪三者有机结合,体现出东亚古典小说典型的线性时间叙事特征。《源氏物语》线性时间叙事是直线的单一绵延,不枝不蔓,“骤看之,有如无物,及至细寻,其中便有一条线索,拽之通体俱动”。《红楼梦》时间叙事技巧向现代小说靠拢,但不能因其局部对时间的切割、打碎和穿插,否定其主体叙事时间的连贯性。《红楼梦》叙事时间技巧不及《源氏物语》明确,但所言之事如丝以待,丝于络成之后,方知作茧之精,与《源氏物语》略显板滞的时间叙事技巧比较,《红楼梦》时间叙事技巧更为灵活多变,是清朝小说时间叙事艺术迅猛发展的标识。实际上《红楼梦》中不可回溯的主干时间流对文本进行着整体有效的操控。二、时间情态化叙事技巧比较研究。“日月忽其不掩兮,春与秋其代序。惟草木之零落兮,恐美人之迟暮。”中国人传统思维中,时间不仅是一种客观的物理现象,时间流变与心理感受密切相连。季节交替变换推动事态演变,是提供《红楼梦》和《源氏物语》情节展开的必备条件。两部小说将事态变迁与自然季节变化紧密结合,使得景物描写与人物情感的矛盾纠葛描写有机融合。在时间情态化的文本诠释过程中,中日两位作者均擅长“喻情于景,借景抒情”,叙事表现艺术中形象先于逻辑,感性强于思辨。《红楼梦》以情节的跌宕吸引读者,季节的变化辅助情节的发展,向现代小说叙事手法靠近。《源氏物语》注重通过季节变化来抒发个人感情,注重小说叙写的“散文式抒情特色”。《红楼梦》与《源氏物语》两书中“一切景语皆情语”,“抒”与“叙”紧密结合。同时,两书均采用既能抒发“意”,又不被“意”所束缚的灵活多变的譬喻性话语体系。中日古典小说的抒情叙事特质恰好与西方古典小说注重情节的叙事传统形成鲜明对比。三、地志空间叙事技巧比较研究。时间是流动、变化的,暗含新生与幻灭之意,空间是静止、平稳的,在静止的某一时刻凝注文本。两部小说中故事发生的地志空间,即人物的外部环境是相对封闭的,这些“深宫帐纬”的场所一般人不可企及,都是发生在一小块区域内,由一小群身份颇高人的人引领,发生在“院子里”的故事,是一方水土的缩影,都具备地方志的特征。“文笔园林”是两书有别于其他典籍作品的重要叙事特征,“文笔园林”因人／事设景、因景设置植被,以不同的植物烘托人物的性情、渲染气氛。紫式部与曹雪芹旨在作品构筑的虚构世界中逃避现实、逃避纷争,在曲径通幽的还乡之路上品尝人生的甘美,构建了一处诗意的栖居地、理想的乌托邦。两部作品在花园意象的描写上均体现出求真、求善、求美。另一方面,日本古园林是中国古园林建筑的分支,中国人文因素自古以来对园林影响大,讲究园林艺术中的立意,饱含伦理教义。日本园林的趣旨在于通过事物外部,冥思事物内在,重视心与心的人天对话,讲究的是悟性。两书不同地志空间特征,反映出不同时代不同地域不同民族的文化特征,基于中日两国彼邻而居,文化渊源流传,两国文化有若干相似与迥异。反映在文本当中,就是各自既具备独特的民族风情,又能相互得以共识处。四、文本空间结构叙事艺术比较研究。该部分研究,一是对两书的文本叙事结构进行对比研究,二是对两书的文类模型进行对比研究。《红楼梦》的叙事主线争议繁多,切入视角及赏析角度的差异造成各式审美取值及其价值认同。《红楼梦》分为“家运”、“神瑛与绛珠草恋情”、“宝玉运程”三条主轴,第三条叙事主轴(“宝玉运程”)有力地将前两条叙事主轴扭合。《源氏物语》以“冷泉帝构想系统”、“明石姬构想系统”、“女三宫构想系统”、“紫上构想系统”为叙事主轴,前三条主轴为先后承接关系,第四条主轴(“紫上构想系统”)一直与前三条主轴相互缠绕,齐头并进。通过两部小说叙事主轴的比较研究可以看出两书特质结构惊人相似,一是,两书主体构架简单明了,基本都为平铺直叙型,事态的发展循序渐进。文本叙事主梁由几股主轴构成,其中一条主轴又贯穿于其他几条主轴当中,将其他几条主轴紧密扭合,叙事主梁呈麻绳状。二是,在这些连绵不间断的主体构架当中,又有若干条叙事暗线埋伏其间。两书中这些大大小小的叙事系统互为参照、明暗相间、紧密结合、同步共进,在交错展开的过程中搭建有机的叙事空间。两书都是在时空交错的网状结构中定型,最后都达到了“提纲挈领”“纲举目张”的叙事效果。该部分还将对古典小说叙事的各种文类模型进行比较研究,例如：预叙式总纲、情史与恋爱模式、神谕与预言、皇权、神话与传奇、梦境。
[Abstract]:Space and time represent the position relationship between things. Time describes the sequence of actions or events. Space is used to describe the shape of an object. "The dream of Red Mansions > and the tale of the source > belong to the traditional plot novel, which follow the natural continuity of time and the spatial transformation corresponding to the plot requirements, according to the protagonist's successively. To arrange the beginning, development, climax and ending of the plot, the two novels lack the narrative characteristics of the interlaced time and space of contemporary and contemporary novels, but all of them have no lack of the narrative techniques that are in the first time relative to the same time novels. The study is divided into the following four parts.
First, linear time narrative techniques contrast. "In the real world, even if two things happen at the same time in the same time, when they are expressed in language, they have to take one of them first, then say another thing, or two things alternately. In a word, it needs to become linear." "dream of Red Mansions > and < The Genji language inherits the linear time narrative features of the two literary genres of the spring and autumn and the historical records, combining the dynasties, the generation time and the three persons, reflecting the typical linear time narrative characteristics of the classical novels in East Asia. If there is no thing, and to the fine search, there will be a clue, and there is a clue to move. "The dream of Red Mansions > the time narrative technique is close to the modern novel, but it can not be broken and interspersed because of its partial cutting to time. In order to wait, after the silk is formed, we know the essence of the cocoon, compared with the narratives of "the tale of the source", and the time narrative technique of the "dream of Red Mansions >" is more flexible and changeable, which is the sign of the rapid development of the time narrative art of the Qing Dynasty Novels.
Two, a comparative study of the narrative techniques of time modality. "The sun and the moon are not overlooked, the spring and autumn are the order. Only the grass and trees are falling and the beauty is twilight." in the traditional Chinese thinking, time is not only an objective physical phenomenon, but the time flow and psychological feeling are closely connected. The two novels combine the situation change with the natural seasonal changes, and make the description of the scene and the contradictory entanglement of the characters' feelings amalgamated organically. In the process of textual annotation of time modality, the two writers of the Chinese and Japanese are all good at "metaphorically feeling to scenery, borrowing scenery Lyric", and expressing the artistic form in the narrative. Like logic before logic, sensibility is stronger than thinking. "Dream of Red Mansions" attracts readers with the plot of the ups and downs, the seasonal changes assist the development of the plot, and the narrative techniques of modern novels close. At the same time, the two books both use the flexible and changeable paraphorical discourse system which can both express "meaning" and not be shackled by "meaning". The lyric narrative characteristics of the classical Chinese and Japanese novels are in sharp contrast to the narrative tradition of the western classical novels which pay attention to the plot.
Three, a comparative study of spatial narrative techniques. Time is flowing, changing, implying new and disillusionment. Space is static and stable, and the text is fixed at a stationary time. The spatial space of the story in the two novels, that is, the external environment of the characters is relatively closed, and the places of these "deep Palace" are generally unmatched. All of them occur in a small area, which are led by a small group of people who are quite high. The story of the "yard" is the epitome of the water and soil, which has the characteristics of local chronicles. The "literary garden" is the important narrative feature of the two books which are different from other works of classics. The same plant rests the character of the character, exaggerates the atmosphere. The purple ministry and Cao Xueqin try to escape from the reality, escape from the dispute and taste the life's sweetness on the road to the homecoming, and build a poetic dwelling place and ideal Utopia. Two works reflect the truth in the description of the garden image. On the other hand, Japanese ancient gardens are the branches of Chinese ancient garden architecture. Chinese humanistic factors have a great influence on gardens since ancient times, pay attention to the meaning of garden art, and full of ethical doctrines. The interest of Japanese gardens is through things outside, meditating on things inside, the dialogue between heart and heart, and understanding. Two books are different. The characteristics of the spatial records reflect the cultural characteristics of different ethnic groups in different times and regions. Based on the neighboring countries of China and Japan, the cultural origin has been circulated. There are some similarities and differences between the two cultures. In the text, they both have unique national customs and mutual understanding.
Four, the comparative study of narrative art in the text space structure. This part is a comparative study of the text narrative structure of the two books, and the two is the comparative study of the text models of the two books. The narrative lines of the "Red Mansions" are various, the angle of view and the difference of appreciation angle make various aesthetic values and their value identification. For "home transportation", "Shen Ying and Jiang Zhu grass love", "treasure jade journey" three main axis, third narrative spindle ("Baoyu journey") forcefully twist the first two main axis of narrative. "The source of" the "the idea system", "the Ming Shi Ji thought system", "the three palace concept system", "Purple conception system" as the main axis of the narrative The first three main axes are successively connected, and the fourth main axis ("the purple conception system") has been intertwining with the first three main axes and advancing side by side. Through the comparative study of the main axis of the two novels, it can be seen that the structure of the two books is surprisingly similar. The first is that the frame of the two books is simple and straightforward, and the development of the events is basically the form. Step by step. The main beam of the text narrative is composed of several spindles, one of which runs through several other spindles, twists the other main spindles closely, and the narrative main beam is in the form of rope. Two, in these continuous uninterrupted main bodies, several narrative dark lines are ambushed. The two books are the big and small narrative lines. The two books are stereotyped in the interlaced network structure in time and space, and finally reach the narrative effect of "Outline" and "outline the outline". This part will also compare the various literary models of classical novels. More research, such as: preface general outline, love and love mode, Oracle and prophecy, imperial power, myth and legend, dream.
【学位授予单位】：湖南师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I106.4-03

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