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哲學·美學·文學思潮中的杜拉斯 版權信息
- ISBN：9787310063857
- 條形碼：9787310063857 ; 978-7-310-06385-7
- 裝幀：一般膠版紙
- 冊數：暫無
- 重量：暫無
- 所屬分類：>>
哲學·美學·文學思潮中的杜拉斯 內容簡介
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作動態考察的一部文學批評專著。瑪格麗特?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、戰爭、性別問題為其創作描上濃墨重彩，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、文本間性、主體間性等20世紀哲學、美學、文學關鍵詞，動態考察女作家三個時期、九部作品中所表現的東方與西方、傳統與現代、自我與他者、獨白與復調、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、波浪式的推進呈現杜氏思想與時代思潮間的碰撞與交疊、異質與對話。
哲學·美學·文學思潮中的杜拉斯 目錄
目錄 引言········································································1 章對話與復調：杜拉斯的對話系列······························4 節“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、復調概念·························································18 四、巴赫金的哲學與美學思想·····································26 節《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“復調小說”·································46 第三節《琴聲如訴》：復調的愛情之歌·····························53 一、傳統：的人物塑造··································55 二、作者“身份”之變··············································61 三、主體間的對話：關鍵的他者··································6節《廣島之戀》：對話與復調··································71 一、《廣島之戀》中復調的起源····································73 二、對位元素·························································、互相依存的人物關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“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、質疑主體·····················································115 三、閱讀理論·······················································123 四、詩學方向·······················································128 節印度系列中的狂歡化元素·································132 一、狂歡文化與文學···············································133 二、《副領事》的怪誕現實主義：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節被質疑的全知視角：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”的復歸：情人系列·····························9 節文本間與主體間·······································211 一、寫作與閱讀：從“互文”到解構····························211 二、主體間與文學···············································21、文本間與主體間的互補······························223 節情人系列與狂歡化·········································228 一、《抵擋太平洋的堤壩》：狂歡的基調·························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 第三節情人系列與解構主義·······································251 一、解構視角的文學批評：情人系列···························252 二、其他有解構主義傾向的批評·································263 三、解構與后現代···············································269 第四節他與主體間：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，發表學術論文11篇，主持完成省、廳、校級科研項目4項。
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