【作者】 岳国法；

【导师】 蔡新乐；

【作者基本信息】 河南大学 ， 英语语言文学， 2003， 硕士

【副题名】以《麦田守望者》为例

【摘要】 本文围绕“意识形态渗透于叙事话语?”这一主题，对意识形态在叙事话语中的体现进行探讨，即通过对一个文本的叙事话语进行分析，找出其中所蕴涵的“意识形态性”。然而，“意识形态”本身就是马克思主义中争论较多的一个概念，对它的界定也十分困难。因此本文即从意识形态的内涵入手展开论述。 第一章，意识形态概念综述。“意识形态”这个术语由法国18世纪政治家、思想家、经济学家和哲学家德斯杜特·德·特拉西首次提出，到20世纪50年代，其定义已超过150种。理论家们对意识形态内涵的界定可谓见仁见智，马克思和恩格斯认为，意识形态是指代表统治阶级的利益，并把它合法化、自然化的社会意识形式，即“虚假意识”；路易·阿尔都塞把意识形态看作是“个体与实际生活状况的一种想象的关系”，它通过“意识形态国家机器”（诸如宗教、教育、家庭、法律等）对独立的主体进行“召唤”，使他们成为“社会个体”，各就其位；特里·伊格尔顿则认为“意识形态是人们在各个不同时期经历自己社会的思想、价值与情感”，“理解意识形态就是更深地理解过去和现在，而这种理解有助于我们的解放”。以上几种代表性意见对于我们深刻把握意识形态的内涵均有重要意义。 第二章，文学与意识形态的关系概述。文学与意识形态的关系是一个长期争论的问题。庸俗马克思主义者认为，文学只是以一定的文艺形式显现出来的意识形态，这是因为人们都陷于统治阶级的“虚假意识”中，作家也不例外，因而文学只能是统治阶级意志的表达；恩斯特·费舍则认为，“真正的艺术总是要超<WP=7>越自身所处时代的意识形态的限制，让我们看到被它所掩盖的真实”。这两种观点似乎都有把意识形态简单化的倾向。 路易·阿尔都塞提出的文艺的“非意识形态化”，则最具有建设性。他把艺术归诸于“‘知识’与意识形态之间的某种宗教”，要求艺术从意识形态中“退出”，形成一种距离，同时又暗指意识形态使读者从中“看到”、“觉察到”、“感觉到”某种“暗指现实的东西”；伊格尔顿同样认为，文学并不用于对意识形态的表达，而是以意识形态为材料，进行重新加工，它是经由一些结构的相互作用产生的，并不反映历史真实，而是通过意识形态作用来产生真实的效果，但“历史是文学的终极能指和终极所指”。 在《马克思主义与文学批评》中，特里·伊格尔顿批评了庸俗马克思主义者，指责他们把文学与意识形态直接联系起来，把文本内容解释成对意识形态的直接“反映”，忽略了作家的阶级地位、意识形态形式、意识形态形式与文学形式的关系、精神性与哲学、文艺生产的技巧和审美理论等几个方面。卢卡契也为此特别指出，“艺术上意识形态的真正承载者是作品自身的形式，而不是它抽象的内容”。因而，从意识形态角度分析艺术，就应更多地关注它的形式，即从形式中寻求它的意识形态性。 学术界对形式的研究也经历了一个由内到外的过程，即从纯文本的静态叙事结构研究到对文本与社会、读者和意识形态的关系的动态研究。伊恩·里德在《叙述的交流》一书中提出这一问题，施洛米史·里门·柯南的《叙事作品：当代诗学》和罗斯·钱伯斯的《故事与环境：小说权利中的叙述诱惑》就代表了这两种倾向，前者注重对文本内部的叙事结构作细致的探讨，后者则把<WP=8>注意力由文本本身转向文本以外，探求文本与读者之间的“交流”。叙事作品研究的转向，为文学与意识形态的研究找到了一个新的突破口，然而长期以来这一问题并没有得到研究者的充分重视，直到80年代以后，才有众多研究者开始研究形式中的意识形态问题。 就作品的内容与形式划分而言，申丹在其《叙述学与小说文体学》中对此作了详细阐释，明确提出在“故事”（内容）的相对独立性之上，“文本”和“叙述行为”都隶属于叙事话语（形式）。换言之，一部作品就是一个“话语单位”，它以自身的语言、自身的言说方式言说“故事”，就形成了自身独有的“叙事话语”。通过对某一部作品叙事话语的研究，可以从中找出作家所处时代的意识形态状况（即真实性）与作家自身的倾向性。 第三章，通过文本分析探究意识形态对作品叙事话语的渗透。美国作家J·D·塞林格的《麦田守望者》自1951年发表后，争议颇多。许多人严厉指责这本小说里充斥着主人公“粗俗”的语言，是“一部不适合孩子们读的书”，因而这部作品曾一度被列为禁书；但也有人褒奖它真实地描写了当时青年人的处境和心态，读此书有助于增进对他们的了解，从而促进社会的改善。针对这部存在严重争议的小说，本文就从它的叙述语言、人物聚焦、人物塑造和非人格化叙述四个方面展开论述，揭示其从叙事话语中体现出来的意识形态性。 叙述语言 这本小说讲述的是主人公霍尔顿在被学校开除后，不敢回家，独自一人在繁华喧闹的纽约游荡了一天两夜的故事。整个故事的叙述语言，几乎完全是霍尔顿的独白，他满嘴“goddam”、“hell”、“sounvabitch”这样的脏话，把美国人<WP=9>所推崇的生活和事业上的“成功”都说成“phony”。但主人公说的脏话，以及“脏”的程度，对准的是具体的人、事、以及场合。作者既再现了主人公对流行于青更多还原

【Abstract】 This thesis, taking "Ideology Infiltrating Narrative Discourse?" as its main topic, studies the embodiment of ideology in narrative discourse, or to be more exact, by analyzing the narrative discourse of literary texts, tries to seek out its "ideologicality". "Ideology", however, is one of the concepts causing many disputes within Marxist tradition, and to define it consequently becomes a complex and difficult task. Therefore, before exemplifying this process, the first problem this thesis needs to deal with is the concept itself. Chapter one has a brief summary of this concept. "Ideology" is first proposed by Destutt de Tracy, a French statesman, thinker, economist and philosopher, in the eighteenth century. And up to 1950s, its definitions amount to more than 150 kinds. Critics take different stances in defining it. Karl Marx and Frederic Engles hold that ideology refers to social ideological forms representing the interests of the ruling class, and then, legitimating and naturalizing them, i.e., "false consciousness". Louis Althusser sees ideology as "the representation of the imaginary relationship of individuals to their real conditions of existence". By appealing to those "Ideological State Apparatuses" (for example, religion, education, family and law, etc.), ideology "interpellates" individuals as social subjects in society. Terry Eagleton argues, ideologies are "the<WP=12>ideas, values and feelings by which men experience their societies at various times", and "to understand ideology is to understand both the past and the present more deeply; and such understanding contributes to our liberation". These views above are helpful to our understanding of the essence of ideology. Chapter two expounds the relations of ideology with literature. This is also a problem with lasting controversies in modern thoughts. Vulgar Marxists declare that literature is ideology in an artistic form. And all people including writers therefore are the prisoners of the "false consciousness" of ideology, and consequently literature is merely the expression of a ruling class’s will. Ernst Fischer, the representative of another school of theorists who take an opposite extreme, considers that "authentic art always transcends the ideological limits of its time, yielding us insight into the realities which ideology hides from view". These two views both tend to simplify the relations. However, Louis Althusser’s "non-ideologicalization" of art seems more suggestive by ascribing art to "some kind of religion between ’knowledge’ and ideology". Art produces a distance through its retreating from ideology, simultaneously making readers "see", "perceive" and "feel" something alluding to reality. Terry Eagleton also believes that literature is not the expression of ideology, but the representation of it with ideological writing materials by virtue of the interactions of some structures; that<WP=13>literature does not reflect the historical reality, but to produce a more real effect of it through ideology, and "history is the ultimate signifier of literature, as it is the ultimate signified". In Marxism and Literary Criticism Terry Eagleton criticizes vulgar Marxists’ taking direct relationships of literature to ideology, and seeing narrative content as its immediate "reflection", regardless of several respects, such as, the author’s class-position, ideological forms and their relation to literary forms, spirituality and philosophy, techniques of literary production, and aesthetic theory. And the Hungarian Marxist critic Georg Lukacs is also against this danger and particularly points out that "the true bearers of ideology are literary forms themselves, not the abstract content". Therefore, in this sense, to analyze art from an ideological perspective must pay more attention to its form, i.e., to seek out ideologicality from its form. A study of form also experiences a turning from in to out, i.e., from a static study of narrative structures to a dynamic study of text in connection with society, readers and ideol更多还原