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哲學·美學·文學思潮中的杜拉斯 版權(quán)信息
- ISBN：9787310063857
- 條形碼：9787310063857 ; 978-7-310-06385-7
- 裝幀：一般膠版紙
- 冊數(shù)：暫無
- 重量：暫無
- 所屬分類：>>
哲學·美學·文學思潮中的杜拉斯 內(nèi)容簡介
本書是以跨學科的視角，將人文思潮的歷史嬗變引入專題作家研究，對法國當代女作家杜拉斯進行文學創(chuàng)作動態(tài)考察的一部文學批評專著，敻覃愄?杜拉斯，法國小說家、劇作家、電影編導、20世紀世界文壇熠熠生輝的女性天才之一，殖民、戰(zhàn)爭、性別問題為其創(chuàng)作描上濃墨重彩，新小說、新戲劇、電影新浪潮見證她變中求新、特立獨行。本書在多姿多彩、人言人殊的既有成果中另辟蹊徑，聚焦對話、狂歡、解構(gòu)、文本間性、主體間性等20世紀哲學、美學、文學關(guān)鍵詞，動態(tài)考察女作家三個時期、九部作品中所表現(xiàn)的東方與西方、傳統(tǒng)與現(xiàn)代、自我與他者、獨白與復(fù)調(diào)、全知與多聲、男性與女性、愛欲與道德、生與死、罪與罰等一系列問題，力求以全景式的視角、波浪式的推進呈現(xiàn)杜氏思想與時代思潮間的碰撞與交疊、異質(zhì)與對話。
哲學·美學·文學思潮中的杜拉斯 目錄
目錄 引言········································································1 章對話與復(fù)調(diào)：杜拉斯的對話系列······························4 節(jié)“互文”理論之源：對話主義································6 一、對話理論的研究對象與研究方法······························7 二、對話主義·························································12 三、復(fù)調(diào)概念·························································18 四、巴赫金的哲學與美學思想·····································26 節(jié)《廣場》：對話的痛苦········································32 一、小說或戲劇：突破體裁的界限································33 二、“對話小說”與“復(fù)調(diào)小說”·································46 第三節(jié)《琴聲如訴》：復(fù)調(diào)的愛情之歌·····························53 一、傳統(tǒng)：的人物塑造··································55 二、作者“身份”之變··············································61 三、主體間的對話：關(guān)鍵的他者··································6節(jié)《廣島之戀》：對話與復(fù)調(diào)··································71 一、《廣島之戀》中復(fù)調(diào)的起源····································73 二、對位元素·························································、互相依存的人物關(guān)系與自我意識的覺醒····················8、共時：重疊的時空···········································94 五、對話及聲音的二重·········································101 章從“對話”到“互文”：解析印度系列····················107 節(jié)“互文”理論的源與流·····································109 一、由對話與狂歡化概念演變而來的“互文”····················110 二、質(zhì)疑主體·····················································115 三、閱讀理論·······················································123 四、詩學方向·······················································128 節(jié)印度系列中的狂歡化元素·································132 一、狂歡文化與文學···············································133 二、《副領(lǐng)事》的怪誕現(xiàn)實主義：加爾各答的女乞丐·········138 三、狂歡之地：宴會與舞池·······································144 四、狂歡化：沖破固有法則·······································14節(jié)被質(zhì)疑的全知視角：杜拉斯與互文理論家的作者觀··154 一、作家與寫作·····················································155 二、對全知與的反叛：印度系列···························162 第四節(jié)對印度系列的互文閱讀····································183 一、《勞爾之劫》與《安娜?卡列尼娜》中的互文本···········184 二、互文視角下的《愛》·········································193 三、印度系列中的神圣元素·······································3 第三章“主體間”的復(fù)歸：情人系列·····························9 節(jié)文本間與主體間·······································211 一、寫作與閱讀：從“互文”到解構(gòu)····························211 二、主體間與文學···············································21、文本間與主體間的互補······························223 節(jié)情人系列與狂歡化·········································228 一、《抵擋太平洋的堤壩》：狂歡的基調(diào)·························229 二、《情人》：嚴肅與狂歡·········································239 三、《來自中國北方的情人》：溫柔之歌·························246 第三節(jié)情人系列與解構(gòu)主義·······································251 一、解構(gòu)視角的文學批評：情人系列···························252 二、其他有解構(gòu)主義傾向的批評·································263 三、解構(gòu)與后現(xiàn)代···············································269 第四節(jié)他與主體間：對話中的我與他······················276 一、神迷他者：恒河女子·········································277 二、追尋自我：母與女人····································282 三、他與主體間：東方與西方······························290 結(jié)語·····································································295 參考文獻···································································300
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哲學·美學·文學思潮中的杜拉斯 作者簡介
張婷，西安外國語大學歐洲學院副教授，法國艾克斯??馬賽大學法國語言文學博士，西安外國語大學法國文學與翻譯研究方向博士。主要從事法國文學與翻譯、女性文學、西方文藝理論研究；出版專著1部，譯著4部，發(fā)表學術(shù)論文11篇，主持完成省、廳、校級科研項目4項。
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