【作者】 张璐；

【导师】 罗贻荣；

【作者基本信息】 中国海洋大学 ， 英语语言文学， 2009， 硕士

【摘要】 作为英国当代最杰出的文学批评家和小说家之一,戴维·洛奇常常把小说理论和创作实践相结合。在影响他后期创作的诸多批评理论中,最为重要的就是巴赫金对话理论,因为正是这一理论极大地改变了他思想模式中独白的方面。本文从巴赫金文化理论,特别是狂欢化时空体概念这一视角出发,将洛奇的代表作品《你能走多远?》作为广场和门槛、叙事时间和历史时间等不同范畴或声音并行存在的时空体系的典范,讨论了时间-空间内在的动态关系,并把这种特殊的时空关系命名为“狂欢-对话时空体”。第一部分介绍了论文切入点及国内外研究现状,引入了狂欢节和时空体的概念,并指出它们之间的关联。第二部分把中国传统空间观作为参照系,通过中西文学文化的比较得出结论:中国文学文化注重内省、由内而外发展,变化的原初态是封闭的空间,而过程是逐渐累积的,而西方文化更为外向,文学作品中的人类行为充满奔走和行动感,这就需要广阔的广场空间使人与人发生接触、冲突及各种置于压力下的关系,各种动态的过程被浓缩在很短的时间里,危机和转变层出不穷,这一切决定了西方文学的部分空间建构同样需要狭窄的、凝聚大量信息的门槛空间。通过对《你能走多远?》的细读分析,广场和门槛场景在这部小说中大量存在就得到很好的解释。第三部分就小说中尤为突出的时空体的两个方面——门槛(危机和转折的发生地,如门厅、楼梯、走廊等)和广场(或客厅、餐厅等灾难、丑闻的发生地)做样本分析,并指出洛奇的文学空间建构是以时空体的这两个方面在同一文学载体的交互作用及其弱化的(这是与拉伯雷和陀思妥耶夫斯基较为典型的狂欢文学比较而言)、嬗变的狂欢基调为主要特征的。其中门槛、广场时空体的交互作用具有以下特点:1)门槛上发生的嬗变往往一开始和广场有关;2)文本中存在一个比较明晰的从门槛到广场的发展脉络;3)发生在广场上的嬗变不胜枚举,并常常带有门槛上的转变的性质。至于空间的变化为什么是从门槛到广场,一个合理的解释是“私自的人”和“公开的形式”之间的矛盾造成真正的私人生活只能被幽禁在门槛和斗室这样的封闭空间,由作者叙述者偷窥和窃听公之于众,而随着小说中的人物走向公开,他们的活动范围也转移到了广场上,这一矛盾由此得到缓和(而根据对话理论的观点,作为对话的基础的矛盾冲突无法消融)。第四部分分析了小说独特的时间建构方式——离题(确切地说应为时空建构方式,然而正如第三章主要从空间上分析兼具时空意味的门槛和广场,在这里侧重从时间方面解析同时凝聚了时间和空间信息的离题现象,而真正将它们的时空内涵结合起来研究是在本章后面时空交叉的部分),它大致可分为两类:1)以历史背景为主要内容的离题。这种离题打断叙事时间,模糊虚构和现实时空的界限。“飞鸟入笼”和走马灯与之原理相似,唯一不同的是前者诉诸画面在时间上的连续出现造成的视觉暂留,而后者依靠不同时间体系或时空体在文本中连续出现导致的归纳谬误;2)以“打破框架”的作者闯入成分为主要内容的离题。上述两种离题都可归于洛奇定义的“短路”,它们都颠覆了线性的时间结构,而曲折的结构能更好地表达丰富的人类经验,历史和现实的交叉、融合以及混淆产生了文本张力,叙事和离题、虚构和历史、现实主义和后现代主义之间的对话由此产生。同时,时间、空间体系又通过广场和门槛两个时空体得以交叉,时间和空间也进入了共语、共欢的话语场。最后得出结论:《你能走多远?》通篇弥散着对话精神和狂欢化世界感受,而其通过狂欢-对话时空体建构的叙事领域促进了以下方面或声音之间的对话:门槛与广场、私自的人与公开的形式、叙事与离题(或虚构与历史)、时间与空间、现代主义与后现代主义等。更多还原

【Abstract】 As one of the preeminent British novelist-critics, David Lodge is highly conscious of the application of critic theory in literary creation and vice versa. Among all critic theories which he applauds in later career the most significant one is Bakhtin’s Theory of Dialogism, for it has greatly changed the monologic facet of his thinking mode. From the Bakhtinian cultural perspective, especially the part concerning his concept of chronotope, the present thesis attempts to approach one of his most important works——How Far Can You Go? precisely as a canon whose time-space scheme consists of diverse voices or elements such as narrative time and historical time, the square and the threshold and so forth and thus aims to initiate a discussion on the inner interplay of its time-space defined herein by the author as the“carnivalistic-dialogic chronotope”.Chapter One introduces the topic of this thesis and the status quo of related research in China and abroad,and throws light on the notion of the carnival and the chronotope and the association between them. Chapter Two takes spatial concept in traditional Chinese culture as a contrastive paradigm and comes to a conclusion that in contrast to the introversive and centripetal nature of Chinese people with a notion of closeness and accumulation, westerners are more extroversive and centrifugal: in literary works such as How Far Can You Go? their inclination of action and pugnacity requires an expanse of space for conflict, and their sensitivity to tension and notion of concentration leads to narrow space for crisis and shift. Chapter Three focuses on two significant facets of the chronotope in How Far Can You Go? : The threshold (doorways, entrance ways, staircases, corridors, and so forth), where the crisis and the turning point occur, and the public square, whose substitute is usually the drawing room (the hall, the dining room), where the catastrophe and the scandal take place. Lodge’s artistic conception of space is characterized by the integral interaction of the two facets of the chronotope in one plane and the undeveloped and reduced(in contrast to the typical carnival literature produced by Dostoevsky and Rabelais)yet constantly changing carnival undertone. The interplay between the threshold and the square has three distinct characteristics: 1)Change in a threshold is originally connected with that in a square; 2)There is a clear evolving scenic course from the threshold to the square; 3)Illustrations of quasi-threshold change taking place on a square are pervasive in the novel. Space shifts from some narrow place to the square in that the contradiction between private persons and public forms leads to the fact that the quintessentially private life that enters the novel is, opposed to public life, positioned in a closed place, such as the threshold (though a closed place is not necessarily the threshold, for the latter by its essence is saturated with the dialogic spirit while sometimes the former is opposite). This situation lasts until in the latter part of How Far Can You Go? the conflict is further reconciled (while not completely reconciled, for according to the Theory of Dialogism contradiction as the basis of dialogue can never be reconciled) through the characters’transformation from private persons to public men on the public square. Chapter Four analyzes a distinct phenomenon concerning literary time in How Far Can You Go?——digression, which can be divided into two catagories:1) Historical background is taken as source of digression, which not only breaks narrative time, but blurs the dividing line between fictional and real-life time-space. This is quite similar to the cardboard game of“bird flying into the cave”and the zootrope. The way Lodge deals with time in How Far Can You Go? is different from above-mentioned tricks only in that the latter resorts to the succession of sensual effect resulting from the interaction between separate and slightly different pictures adjacent in time, while Lodge throws light on the confusion and classification fallacy caused by the interrelation of time or chronotopes adjacent in the text; 2) Author-introducing digression which“breaks the frame”. Herein the linear time structure is subverted and decrowned, the richer human experience could only be elaborated through lines which is not straight or uninterrupted. The mixing, confusion and then differentiation of fictive time and historical time yields a strong textual tension, and scaffolds the dialogue between narration and digression, fiction and history, realism and postmodernism. Furthermore, for David Lodge, the square and the threshold are the places of intersection of temporal and spatial sequences, which also enter into the dialogic sphere of the carnivalesque. Finally we come to a conclusion that How Far Can You Go? is saturated with the dialogic spirit and the carnival sense of world , and its carnivalistic-dialogic chronotope forms a narrative realm to scaffold dialogues, among which the most significant are dialogues between the threshold and the public square as two facets of the chronotope,private persons and public forms, narration and digression(or fiction and history), the temporal and spatial sequences, realism and postmodernism and so forth.更多还原