【作者】 徐洁；

【导师】 王爱松；

【作者基本信息】 南京大学 ， 中国现当代文学， 2013， 硕士

【副题名】以讽刺小说和喜剧为中心

【摘要】 讽刺文学是中国现代文学史上特别是20世纪四十年代文学中特别重要的一支,而其中所包含的或大或小的喜剧性则更不容忽视。本论文选取四十年代讽刺文学的中坚部分——讽刺小说和喜剧作为研究对象,探讨其喜剧性之生成方法。论文不拘泥于题材,不局限于某些重要作家,不受制于地域划分,对该时期的讽刺小说和喜剧进行比对分析,从而得出喜剧性生成的一般方式。通过对文本的浅层次分析,可以得出作家常常通过喜剧性人物的塑造来传达喜剧感。这种喜剧感的传达主要是通过人物的这几个方面：外貌、言语、行为以及性格来进行的。这些方面从最基本的外表形象到内处的心理活动,层层递进、层层深入,但都离不开一个“丑”字,都离不开一种不协调性。外貌的丑陋、滑稽,言语的前后不一,行为的颠三倒四以及性格的执拗或者无常,都导致了极大的直观上的喜剧感的产生。如果不拘泥于某个具体喜剧因素,而是从文学作品的整体着眼,前后对照着来看,则作品的喜剧性结构和喜剧性情境的生成更值得花时间去探究。这一时期的作家不满足于处于浅层次的喜剧人物的描绘,而是追求更高级的喜剧性,把写作重心放在人物与环境之间,人物与事物之间以及人与人之间的种种盘根错节的喜剧性关系。除了在作品中加入一些性事渲染之外,他们特别注重喜剧性冲突的建构,主要包括误会设置、骗局和谎言、期望落空和不期而遇以及“狗咬狗”等。这样的喜剧性情境和喜剧性结构的设置,让作品的喜剧性变得不那么容易窥见,从而更让读者回味深长,这也是作家更喜欢采取这种方式传达喜剧性的原因。撇开文本的具体内容,从叙事学、修辞学的角度,也能很好地窥见作家在其作品中的语言运用表达出的喜剧感。让人发笑不仅体现在作家设计和创造的人物所发出的言语中,也体现在文本的叙述语言中,这是一个作家幽默、睿智的重要表现。通过对材料的比对分析、归纳总结,发现各类语言修辞的运用非常丰富,比较常见的有谐音双关,同字多义,对比和相似,夸张,比喻,佯谬这些办法。语言上的联系和变化同样造成强烈的喜剧性,为多数作家所广泛运用。通过本文的研究,可以看出喜剧艺术之博大精深。喜剧性文学喜剧感的生成方式虽然根据各个作家的性格、习惯、知识丰富情况等有所不同,但总体上还是存在着一定的相通性,并且这种相似性在某种程度上可以说是非常大。这有助于我们研究喜剧性文学这种艺术的基本规律,也对当代作家的创作有着非常大的帮助。更多还原

【Abstract】 Satire is a particular important one in Chinese modern literature, especially in1940s. The comic in them are conspicuous and cannot be ignored. This paper selected the important part of the40’s satire (satire novels and comedy) as the object of study, to find and summarize the basic rule of the creation of comedy. All related articles at that time are involved, not limited to theme, author and geographical division.First, we can conclude that the authors often build a comedy character shaping aspects. The comic to convey through these aspects of characters:characters’appearances and physical phenomenon, speeches and actions, characters and so on. These aspects from the basic appearance to the inside, depth to depth, cannot deviate from a word "ugly", a disharmony. The appearances of ugly, speeches and behaviors inconsistent, a stubborn or impermanence character, lead to a generation of a great deal of intuitive comic.If we do not rigidly to adhere to some specific comic factors, but from the overall focus of the novel, we can get how the structure and context convey the comic. The writers of this period were not satisfied with a shallow comic, but focus on a more advanced one. They focused on the relationship between the person and environment, the person and person, the person and thing. First from the perspective of sex to illustrate. Then analyze the comedy confliction, including misunderstanding setting, tricks and lies, meet by chance or disappoint and "dog eat dog". Comic situation and structure, are not easy to find for readers. Thus leaving the reader aftertaste, so authors prefer to take this to convey the comic.Excluded the concrete context, we can focus on the writer’s use of language in his works. To make people laugh is not only reflected in the words of characters in one work, but also reflected in the narrative language in the text. It is a humorous, wise performance of a writer. According to the analysis of language, we can find synonymy and joking translation, contrast and similarity, exaggeration, metaphor and paradox are common to use. The connection and change in language also leading to strong comic, are used by author generally. Through the study of this article, we can see that comic art is extensive and profound. Comic literary sense of comedy generation though according to the writer’s personality, habits, knowledge situation, but overall still exist certain phase connectivity, and the similarity to some extent, can saying is very large. This comic literature helps us to know the basic rule of this kind of literature. Also, it does well to the creation work of the contemporary writers.更多还原