论艾伟小说的解构英雄叙事

【作者】 王敏；

【导师】 王寰鹏；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2015， 硕士

【摘要】 艾伟作为六十年代出生作家群中的一员，在20世纪90年代登上文坛。商品大潮的冲击和独特的童年经历，使艾伟加入到解构英雄的行列之中。从解构英雄的角度对艾伟的小说进行阐释，可以使我们对一名颇具潜力的年轻作家的创作有更清晰的认知。论文共分为五部分。绪论部分，介绍了艾伟的创作情况、研究现状，论述了解构英雄的文化语境。新时期以来，解构英雄成为批判意识形态的一种方式，经济大潮促使解构英雄的队伍进一步壮大，英雄精神自身的矛盾性又日益加剧，这些构成了解构英雄的文化语境。第一章论述了艾伟小说中回归平凡的战争英雄、走向堕落的致富英雄这两类形象的特征。小说通过展现英雄们完整的人生轨迹，解构了他们纯粹的动机、崇高的人格、悲壮的人生结局。其小说还通过展现英雄和圣母的差异，解构了英雄的中心地位和高尚品行。第二章借助希利斯·米勒的叙事线条理论和重复理论分析了艾伟解构英雄的叙事策略。小说叙事线条开头的不确定性拓宽了叙事视野，实现了文本内外时间的交流，为解构英雄奠定了基础，结尾的多种可能性，解构了英雄存在的意义，昭示了英雄被解构的必然性。话语层次的双重、叙述视角的双重、多种对话性关系造成了叙事线条的复杂性和非连贯性，从而展现了多元的背景，凸显了英雄的多面性。艾伟小说中的重复有三种类型：细小处的重复，同一部作品中事件、人物、场景的重复，不同作品中动机、主题、人物或事件的重复，这些重复还原了英雄的真实面目，打破了凝滞的英雄审美规则。小说中的重复还有两种形式：同一性重复和差异性重复，它们颠覆了高大全的英雄形象，促进了英雄的世俗化、平民化、伦理化。第三章分析了解构英雄叙事的文学意义。首先，艾伟小说关注的不是战争中的人，而是日常生活中的人，它通过表现最自然、最普遍的人性，促进了日常生活叙事的合法化。其次，小说中的革命是光明与黑暗、正义与邪恶的统一体，社会是温情与残酷、美好与丑陋的统一体，这有利于读者更加深刻的体会革命和社会的真相。再次，英雄回望着虚无的历史，面临着荒芜的现实，咀嚼着存在的伤痛，最终陷入虚无主义的深渊。英雄是人类的缩影，英雄的困窘就是人类的困窘，这揭示了人类生存的虚无。结语部分总结全文，概括了艾伟解构英雄叙事的基本内容。更多还原

【Abstract】 Ai Wei, one of the Chinese writers born in the1960s, entered the literary worldin the1990s and joined the force of hero deconstruction under the impact ofcommodity tide and unique childhood experiences, which therefore makes it possibleto offer us a better and distinct understanding of the promising young writer if hisnovels are analyzed in terms of hero deconstruction.The thesis consists of five parts. The first part expounds onAi Wei’s achievementand literary overview and analyzes cultural context of the deconstructed heroes. Herodeconstruction has been a new method of ideology criticism and strengthened byeconomy growth surges together with expansions in heroism inherent contradictions,which contribute to the hero deconstruction cultural context. Chapter One explicatestypes and features of the deconstructed heroes. Specifically, heroes rising from wars,creating wealth in the1980s and1990s are lofty and noble while also despicable anddishonorable. Related novels deconstruct their natural motives, noble personality butmoving and tragic life endings by presenting heroes’ full life paths, in which herocentrality and nobility, more importantly, are deconstructed in particular by comparingthe differences between hero and Madonna. Chapter Two explains the writer’snarrative method under the framework of Hillis Miller’s narrative line theory andRepetition Theory. The initial uncertainty expands narrative vision and perspectives tothe benefit of text inside-and outside-time information delivery, laying a solidfoundation for hero deconstruction and the multiple possibilities in the end, however,reveal the essentiality of hero existence, and deconstruction. The duality inhierarchical discourse structure and in narrative perspective together with variousdialogic relations leads to narrative line’s complexity and inconsistency, backgroundpluralism and hero multi-facets. Three types of repetition in novel are respectivelyrepetition in details, in events, characters and settings of the same work, and inmotives, themes, characters or events of different works, positively uncovering heroand breaking stereotypical hero aesthetics rules. Two forms of repetition in novel areidentity repetition and discrepancy repetition in favor of overturning hero image and promoting hero secularization, plebification and ethicalization. Chapter Threedemonstrates the literature revelation on hero deconstruction. For one thing the writerfocuses on people in daily life instead of in wars, depicting normal, common humannature to justify daily routine narrative. For another, the revolution, and society, innovel are both a combination of light and dark, good and evil, helping readersunderstand the nature of revolution and society in depth. And more insightfully, whenhero looks back on history mist and faces reality bleakness, he will have to sufferfrom pains and fall into the abyss of nihilism. Hero is human’s epitome and hero’sdilemma is also human’s.That is nihilism of human existence.The last partsummarizes hero deconstruction.更多还原