【作者】 孙金金；

【导师】 王万森；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2009， 硕士

【副题名】王小波的悖论式创作研究

【摘要】 王小波的作品以其复杂的精神内涵带给我们一定的阐释难度,他是中国当代文坛上一个特殊的存在。他的作品与新时期文学乃至整个中国文学传统有着千丝万缕的联系,但他的生活经历也使他的作品不时表现出浓厚的西化思想倾向。阅读王小波的作品,就会发现他创作中存在一系列的心理障碍,往往其创作初衷与其文学叙事所达到的效果南辕北辙,从他的作品中我们也能够感受到他那颗充满矛盾纠葛的心,所以本文提出了悖论式创作这一问题。本文提出现代性视域,是为了还原王小波创作的背景,将文化语境与作者的创作经历做联系比较,这样作者文学叙事的超越性及其局限性就可见一斑。绪论主要对文章中出现的现代性做了界定,提出了“审美现代性”这一范畴,根据卡琳内斯库的论断,审美现代性是一个包含三重辨证对立关系的概念,即与传统文化对立,与启蒙现代性对立,与审美现代性自身对立,把王小波的作品纳入了这三重矛盾辨证关系中进行考察分析,这样王小波的悖论的存在状态及悖论式的叙事就可以清晰地显现出来。本论文主体部分共分为四章。第一章:现代性矛盾漩涡中的悖论式存在。第一节主要介绍了王小波崛起的文化背景变迁过程,在现代性向前发展的进程中,王小波随着大众文化的崛起而成为炙手可热的人物,但是王小波的创作大多成型于70年代末到80年代末这段时期,因此根据霍尔的编码解码理论,创作与解读的错位就造成了王小波的一种悖论状态。第二节主要承接第一节的论述,介绍了王小波走向群体膜拜的具体表现。第三节则是对王小波创作的一种深度阐释,试图还原其被解构的存在。首先是其文本复杂性的重新解读。王小波的文本中运用了许多后现代叙事策略,但是后现代的玩世不恭并不是其叙事初衷,透过后现代的叙事我们依旧可以看见他深邃的现代性理性精神,这也是其悖论式叙述的表现。其次是其精神复杂性的阐释。王小波与道家的逍遥精神和中国传统的性灵文学有着千丝万缕的联系,但是西方文化的影响又使其有一种强烈的救赎渴望,渴望打破中国传统文化中不合理性的束缚。这样王小波的创作就体现出审美现代性与传统文化相对立的一面,王小波的悖论也显现出来。第二章:现代性之探索:历史叙述策略。现代性标志着一种前进的时间序列,往往展示历史的一种溃败,但是历史主义求真的倾向又渴望再现具体的历史场景,展现一种狂欢性。王小波的作品也有反思历史的特性,但历史只是他审美策略的载体。这样启蒙理性的求真和审美现代性的关注审美自身就构成一种矛盾张力关系,王小波的悖论式创作也呈现在这种张力关系中。第一节主要用神话原型的理论对王小波小说创作中的人物原型进行了追溯,并且抽离出了王小波叙事中的“伊甸园情结”。这种原型复现的历史记忆正是一种历史循环论的体现,但是现代性理性精神要求一种时间的前进状态的言说,王小波的创作其实是顺承了一种审美现代性的追求,这样在启蒙现代性与审美现代性的对峙中,王小波的复杂得以彰显。第二节是对王小波用多重对话模式对于历史的描述,多重对话的运用使王小波沟通了历史和现实,并在历史和现实间隙中插入了一个想象时空。此外,又把历史纳入了伦理叙事的视野。但是王小波那种在启蒙理性观照下的言说历史的焦虑与激情却被他叙述的强大的话语狂欢状态所颠覆,在对历史的还原与重构中,王小波的叙述也成为一个巨大的悖论。第三节历史叙事策略下的悖论模式,是力图透过王小波的叙事格局和框架来探求隐含于王小波复杂灵魂背后的悖论的思想及叙事模式。第三章:现代性之激进:极端的表达及文体试验。八九十年代的社会巨变,追求经济的发展成为一种趋势,这导致了现代性的激进进程。同时,文人逐渐边缘化的地位也强化了他们精神上的断裂感,这就导致了一些极端的艺术形式的诞生。作家渴望用艺术拯救生活的庸俗,创造一种超验的美,而他们又往往反传统,展现一种新奇和变化,偏离对超验的美的叙述,这就形成了审美现代性自身之间的一种张力。王小波充满张力的文本形式也展现了这两种追求的对峙。第一节主要从身体叙事的角度展现王小波的悖论式写作,野蛮主义的肉身叙事的介入,揭穿了话语复制世界的欺骗性,提供了生活的另一种可能性,在当时意识形态占据社会主流的情形下,有其超越性的意义。但王小波并没有做到节制,身体的过度狂欢状态使王小波的叙事初衷走向另一面,身体作为美感的载体已经超负荷,并倾向于一种瞬时性的美学体验,这也使王小波的作品变得暧昧不清。这节还从修辞论美学的角度对身体叙事给以解读,原本艺术文本对于肉身压抑状态的审美置换提供的肉身狂欢力量显示了王小波在审美道路上向审美的明快性前进,但他又常常靠古典式的温和、感伤的情绪传达一种苍凉的美学效果,尽管王小波以一种决绝的叛逆姿态向审美现代性前进,但是不自觉又流露出自己对于传统审美方式的眷顾,这样王小波就在左右摇摆中展现出一种无法跨越的障碍。第二节主要介绍王小波荒诞修辞策略的运用,这种修辞策略使其作品获得了一种美学意义上的现代性飞跃,本来荒诞感的获得可以延伸一种深沉的审美感受,而王小波词语的堆砌和狂欢又使这种审美效果发生了偏差,将审美局限于快感体验中,这也是王小波文本的张力所在。第三节主要介绍了王小波作品中话语的错位这一现象,王小波作品中时不时出现一些具有诗意倾向的文字,这是王小波内心沉淀之后真实的情感流露,这样读者就能获得一种祥和静谧的美学体验,但是王小波作为一个“个性作家”,其个性化的语言由于陌生化的效果而形成了一种语言的失控状态,王小波将主体自我置身于一个语言肆意流淌的世界中,新奇与变化又打破了传统的静谧的审美格调,王小波理性思维对于认识世界的确定性与未知世界塑造中感性思维对于理性思维的僭越,体现出王小波思维方式的与众不同,这样精神上的断裂感也使他的话语充满张力。无论是身体的狂欢,荒诞修辞策略的运用还是狂颠之语对于诗性之语的僭越,这些都是王小波对于现实的拆解,对于一种激进的审美方式的追求,这是一种超越生活的审美空间,对于生活的超越也使王小波不再受现实生活的束缚,而有了话语的飞翔,这种新奇与变化所带来的审美现代性突围确实也是一种巨大的进步。但王小波对于生活的游戏状态,对于整个世界逻辑的戏弄嘲讽,又使生活在不可知中走向深度的陷落,这是王小波存在的悖论。第四章:现代性漩涡之中的审美选择变化。本章借鉴了王晓明在《潜流与漩涡—论二十世纪中国小说家的创作心理障碍》中的研究方法,试图从文本出发去探究作家的创作心理,从王小波创作的历时性出发去探寻他审美选择的变化过程,力图窥得王小波精神世界的一角,再现其文字狂颠状态背后的灵魂。第一节主要是对王小波的早期作品《绿毛水怪》、《地久天长》的解读,王小波在70年代无趣的文学创作追求中创造了一个童话般的世界,展现了明朗澄澈的审美选择,而根据美国精神分析学家埃里克森的身份认同理论,王小波的身份认同与其话语叙述本身就构成了一种悖论,王小波用话语的叙述方式实现了他对自己意识形态限定下身份认同的颠覆。第二节是对于《黄金时代》的解读,《黄金时代》是对于当时的温和叙事的背离,这种深层意识的人文关怀与话语层面的感性意识对历史的嬉笑怒骂也成为王小波复杂的灵魂纠结状态。文本中许多情色描写也淡化了王小波作为精英知识分子的高姿态,而发表时间与创作时间的错位也造成了王小波与大众传媒的合谋,这种错位也构成了王小波一种悖论的存在状态,就是精英的创作意识与存在状态的媚俗倾向。第三节是对于《唐人故事》的解读,《唐人故事》中有王小波对历史传奇故事天马行空的改写,与80年代中后期现代性的激进发展进程交相呼应的新的文学创作形式的探索层出不穷,传统文学叙事显得脆弱不堪,这时王小波向传统回眸这一举动显得颇为温和,王小波选用中国传统文学创作形式作为自己的叙事载体,看似回眸传统来反抗一种激进的审美趋势,实则表达了一种更为激进的哲学美学追求,因为其思想内核是具有西方哲学美学那种对人性残酷的剖析,这种思想内核与叙事载体之间的悖论使王小波充满了矛盾的自啮。更多还原

【Abstract】 Wang Xiaobo’s works and his complex spirit connotation bring us some difficulty, he is a special existence in Chinese contemporary literature, he and the new-period literature and the entire Chinese traditional literature are closely related. In addition, his life experience makes his works full of strong westernization ideological tendencies. Reading the works of Wang Xiaobo, you’ll find that he has created a series of psychological obstacles existing in the original creation, often with literature narrative different from his original creation of literature, we could feel his soul full of conflicts. So the paper puts forward a question:paradox. In this paper, in order to restore vision modernity in the background, it will be the creation of cultural context and the experience, so the contact of literature narrative and its limitations is transcendent.Introduction to the paper defines "aesthetic modernity", according to the categories of KaLin, aesthetic modernity is a dialectical relationship between the concept of triple, the traditional culture, and enlightening modernity opposites, and aesthetic modernity itself, the works of Wang Xiaobo are opposite the triple contradictions into the dialectic relationship of investigation and analysis on the paradox , so the existence and the paradox of narrative can clearly show. This paper is divided into four main part.Chapter 1: the paradox of modernity swirl contradictions exist. The first quarter mainly introduces the cultural background of the emergence of Wang Xiaobo’s process, in the process of development of modernity, Wang Xiaobo becomes the hottest, but most of his works formed in the late 1970s and 1980s end this period, so the coding and decoding theory according to the hall, creation and interpretation of Wang Xiaobo is caused by a paradox. The second section of the first quarter mainly wants to worship the manifestation of the group. The third section is to create a depth of Wang Xiaobo to restore the existence of deconstruction. First is the complexity of the text. Wang’s narrative using many postmodern strategy, but not the postmodern cynicism and narrative, through the postmodern narrative we can still see his deep modernity, this is the rational spirit of narrative paradox. Second is his complexity spirit. His free spirit and the traditional Chinese nature are closely related literature, but the influence of western culture and the strong desire for the salvation of Chinese traditional culture, the breaking of the rationality of bondage. This reflects the creation of aesthetic modernity and cultural tradition.The opposite side of the paradox of Wang Xiaobo also appeared.Chapter 2: modernity of historical narrative strategy. Modernity marks an advance of time sequence, often shows a rout of history, but the historical truth tends to reproduce the specific historical scenario, shows a carnival. Wang’s works also reflect the characteristics of history, but history is just his aesthetic strategy. So the rational truth and enlightenment of aesthetic modernity concern aesthetic itself constitutes a paradoxical relation of tension, his creation also presents the paradox in the tension in the relationship. The first section of the main use of Wang Xiaobo archetypal theory of novel creation of the prototype, and trace out of the garden of Eden. The prototype of the resurrection is a historical memory of historicism, but a kind of modernity, rational spirit requirements of the state on time, the creation of Wang Xiaobo is actually a kind of aesthetic modernity, in pursuit of aesthetic modernity and enlightening modernity in the complex. The second section of this part is his historical description. He makes the communication history and reality connected, and in the history and reality in the gap to insert a imagination space, in addition, he puts the history into the ethical narration perspective. But on the enlightenment on the historical narration rational under the anxiety and passion was his account of the powerful discourse carnival state subversion. In the history of reduction and reconstruction of the narrative, he becomes a great paradox. The third quarter mainly wants to through the historical narrative strategy of Wang Xiaobo, explores the paradox of Wang Xiaobo’s complex soul behind the thoughts and narrative pattern.Chapter 3: the expression and radical: extreme style test. In the 1980s and 1990s, the social upheaval in the pursuit of economic development becomes a kind of trend, which led to the process of modernity, at the same time, the literati radical gradually marginalized position also strengthen their spiritual sense, the fracture caused some extreme forms of art. To save lives with art writers of the vulgar, create an ultra beauty, and they often show that a traditional novel and change, it is the aesthetic modernity itself a tension between. The text also shows two kinds of pursuit of confrontation. The first quarter from the Angle of main body narrative writing the paradox of Wang Xiaobo shows the body narrative, savage, and expose the significance of the intervention of the essence of deception, copy offers the possibility of another kind of life, the social mainstream ideology occupy the circumstances, the meaning of transcendence. But he didn’t accomplish abstemious, excessive body state that Wang Xiaobo’s carnival intention to one side, the body narrative as the carrier has overload, beauty and tends to be a kind of aesthetic experience, the works of Wang Xiaobo also become ambiguous. This section is from the perspective of aesthetics of rhetoric body narrative art, originally named text for flesh repressed aesthetic replacement provide flesh carnival power and the esthetic path in the lively nature aesthetic, but he often rely on classic mild, sad mood convey a full aesthetic effect of Wang Xiaobo, although a rebellious attitude to refuse, but not of aesthetic modernity and reveal themselves to consciously traditional aesthetics of, Wang Xiaobo swinging in exactly one cannot cross obstacles. The second section mainly introduces the application of Wang Xiaobo absurdity rhetoric strategies, this kind of rhetoric strategies that its works a aesthetic sense of modernity, absurd feeling of leap can obtain a deep aesthetic feeling, and the stack and revelry words and the aesthetic effect occurred deviation, aesthetic pleasure confined in the text, this is his tension. The third quarter mainly introduces the dislocation of the words in the works of Wang Xiaobo , his works from some poetic tendency of text, this is Wang Xiaobo ’s true feelings after heart precipitation, so that readers can reveal a kind of aesthetic experience and quiet, but as a character writer, its personalized language defamiliarization, due to the effect of a kind of language and the control condition, it will be subject to a language itself is on stream drip, in a world of novelty and change and broke traditional aesthetic style of the quiet, his rational thinking and cognition of the world for the shape of unknown to the rational thinking of empathising trespass, reflected the distinctive way of thinking, that spiritual fracture are also made him the words with tension. Whether the body’s carnival, absurdity of rhetorical strategies used or crazy language of improvers for poetic language of trespass, these are in reality of Wang Xiaobo disassembled, for a radical way of aesthetic pursuit, this is a kind of aesthetic transcendence of life for life space, also makes Wang Xiaobo beyond the reality, and with this new words fly with changes of aesthetic modernity breakout really is a great progress. But in the game of life, and mocked at the logic that lives in the depth of the unknown to fall, it is the existence of Wang Xiaobo’s paradox.Chapter 4: choose the maelstrom of aesthetic modernity. This chapter learns the theory of Wang Xiaoming , this paper tries to explore the writer’s text, this creation mental powers of Wang Xiaobo creation from diachronic set out to explore the changing process of Wang Xiaobo aesthetic choose to peep to corner of Wang Xiaobo’s spirit, the text of the soul wild mountain behind state. The first section of Wang Xiaobo is mainly to the early works”green monster ", "forever", in the 1970s boring literary pursuits created a fairytale world, show the bright clarity of aesthetic choice, and according to the psychoanalysts sven-goran eriksson’s identity theory, his identity narrative discourse itself with a paradox, the words of narrative realized his ideology under the limit of identity. The second day is the golden age "in the golden age", for the time is mild, the narrative deviation of humane care and deep awareness of perceptual awareness of discourse aspect of historical reason and become happy before the soul of wang xiaobo complex strands. Many of the text is loosened pornography as elite intellectuals of his high-profile, but time and creation time published the dislocation also caused the formation of Wang Xiaobo and mass media, this kind of dislocation conspiracy also formed a paradox of Wang Xiaobo the creative consciousness and existence elite vulgar tendency of the state. For the third quarter is the story of the tang dynasty, the story of the historical epic story of imagination, and rewriting in late 1980s radical development process of modernity in photograph echo of new literary forms of exploration, traditional literature narrative is fragile, and then to the traditional style of Wang Xiaobo is very mild, selection of traditional Chinese literary creation of Wang Xiaobo as their narrative style tradition to the carrier, seemingly against a radical aesthetic trend, but expressed a more radical philosophical aesthetic pursuit, because its kernel is a kind of western philosophy and aesthetics of human nature, the thought of cruel kernel and narrative carrier to the paradox between the contradiction of Wang Xiaobo filled since.更多还原