【作者】 马聪敏；

【导师】 屈雅君；

【作者基本信息】 陕西师范大学 ， 文艺学， 2004， 硕士

【副题名】玛格丽特·杜拉斯在后1968的革命性拒绝艺术

【摘要】 本文以法国著名作家玛格丽特·杜拉斯在1968年五月风暴以后的语言实验为主要的分析对象，实践方法上主要秉承伽达默尔在《真理与方法》中所表明的阐释者应该实践的一种方法上的弱，说明杜拉斯试图在语言领域进行的激进变革正是在五月革命之后再次激起革命的灵感的方式。而其在语言领域所形成的新的特色形态正是被笔者命名为“革命性拒绝艺术”的事物。其中包括杜拉斯在文本语言表现中的杜拉斯主义与在电影语言表现中的反电影语言表述。 本文的第一部分主要涉及了68年五月革命及五月革命之后的文化背景描述，这一文化背景的获得主要取决于五月风暴的“假亢”特征。五月风暴整个事件的节庆化所带来的统治权威的破产，社会规范的解体，以及突然间解放了所有在制度中被压抑与禁止的事物和所有曾经“正常的”、合法的与制度化运作的机制，都使得五月革命成为二十世纪欧洲文化中的断裂事件并使五月革命极尽张扬。然而五月运动的革命性成为一种自说自话的努力，甚至从某种程度上趋于虚假和空无，主要原因则出在五月运动中不顾一切愤怒前行的语言上。修辞勇敢地凌驾于现实之上，使得意识形态的意志力对自己形塑现实的力量盲目自信，从而最终将革命从现实变成了永远的乌托邦和无法实现的梦境。也使得话语实践成为今后继续革命的最为主要的可能途径。 杜拉斯的语言继续着五月风暴的精神即“拒绝”或“毁灭”，在文本主题上继承并发扬着五月革命对现实的深刻影响及对文化的形塑作用。笔者分别阐述了68年文化的民主化倾向对杜拉斯在后68的创作上表现出鲜明的唯自我论，以及68年文化的泛欲化倾向对杜拉斯在后68创作上特别彰显欲望都有着重要的不可估量的深刻影响。如果说，主题上的倾向性只能说明杜拉斯对革命的缅怀，那么，她在文本语言领域的实验则说明了她在语言领域对革命性的重复。这就是杜拉斯主义——革命性文本拒绝艺术的生成。即用繁滞的语言来表达语义的空白，用喋喋不休来表达沉默，用紧急文学来表达笨拙美学，用话语的激增来摧毁意义。 68年五月风暴以后，杜拉斯有十年都畅游在电影的世界中，并用自己独有的方式杀死了电影，以继续五月风暴未竟的革命事业。为了摧毁她所谓的传统的带有资本主义特征的“消化性电影”，她用自己的实践建立了革命的反电影语言。这同样是一种革命的以“拒绝”为主题的艺术形式。笔者将反电影语言系统与传统沙“的消化性电影语言系统相对比，从五个方面说明了它们各自的服务对象的确是多么地不同。这五个方面分别是叙述的可转移性与叙述的不可转移性、认同与疏远、透明性与突出性、封闭的单个虚构世界和开口的多个虚构世界、虚构与现实。 在语言中革命虽然无疑是后68年的无奈之举，新的叙事方式的创造虽然是目前革命主要在采取的可行途径，但从杜拉斯的实践中我们似乎已经可以看出:革命是语言的权力之一种，权力化的语言同时在造就着革命。更多还原

【Abstract】 According to the work of Truth and Method by Gadamer, the author would give a detailed explanation on the language experiment of Magret Duras after the May Revolution in 1968 by refusing to be a methodenfanatiker. The radical change in her language expresses the novelist’s will to inspire the revolutionary enthusiasm after the failure of the May Revolution. So the style called "the revolutionary-refusal art style" comes into being, including Durasien showed in her works and anti-film language showed in her movies.The first part of this article talks about the false over-stimulated cultural character and social background of the May Revolution. Although the coming to naught of ruling class and authority, the decomposition of social standard, the liberation of the forbidden and the restrained, which were all brought by the May Revolution, make the revolution itself a fracture incident of the history of Europe culture, it also seemed that the over-stimulated mood at that time was false prosperity. Giving up the complicated situation of reality, encouraging the language and rhetoric to charge ahead bravely on the literary front finally gave an end to the prosperous May Revolution. The ideology worshiped its power to take shape the reality so blindly that it became into an Utopia and a dream unavoidably. Furthermore, it seems that the only way to continue the revolution is to make radical change in the language area.Duras brought forth new ideas in language according to the spirit of the May Revolution: "to Forbid" and "to Destroy" . The clear-cut view point of solipsism and the desire admiration showed in the post-1968 works was decided by the democracy declination and pan-desire cultural character in 1968. She practised the revolutionary spirit not only in content but also in form. The mode of expression called Durasien came into being finally. The clumsy, the silence, the gap in the semantic meaning is showed and expressed by the urgent, flourishing and chattering away language style. In a word, the meaning is destroyed by the soaring words.Duras has worked as a director for ten years since the May Revolution. The unique style of her films destroyed the traditional ones, which she called the "digestiblemovies "with bureaucrat-capitalism character. Her unique style called anti-film-language shows great difference from the traditional ones in the following five aspects: the transferability of narrative and the untransferability of normal narrative of traditional movies, the identification and the alienation, the transparency and the outstanding, the sealed single fabricated world and the various ones, the artistic fiction and the reality.After the May Revolution, it seems that the creation of the new narrative technique is the only way to continue and memorize the enthusiasm of the revolution. To some extent, revolution is one of the rights of language and the powerful language can make another revolution.更多还原