頁籤選單縮合
題 名 | 駱以軍在《遣悲懷》中的主體追尋=The Study of Qian Bei Huai of Luo Yi Jun in Chasing Main Self-consciousness |
---|---|
作 者 | 嚴婕瑜; | 書刊名 | 臺北教育大學語文集刊 |
卷 期 | 15 2009.01[民98.01] |
頁 次 | 頁241-264 |
分類號 | 823.6 |
關鍵詞 | 駱以軍; 文化理論; 狂歡化; 時空型; 複調; Luo Yi Jun; Cultural theory; Cannibalization; Chronoscope; Polyphony; |
語 文 | 中文(Chinese) |
中文摘要 | 臺灣文化語言進入文化轉型期後,對話成為了現代小說的特質。巴赫金的文化理論提出小說將作者與角色、自我與他者間經由作者的文字表達,讓文本擴張到「狂歡化」、「時空型」以及「複調」三種型態,展現多元共存而且相互作用的民間詼諧文化。駱以軍的《遣悲懷》正是以巧妙地用對話性及其敘述風格展現了三大型態。本論文藉由探討作者文本的實踐性、社會性與歷史的深刻內涵,來分析主體的自我意識在「多聲部」對話中形成的過程。 |
英文摘要 | The dialog has become the character of the modern novel since the language of Taiwanese culture had entered the period of cultural transition. The theory of Mikhail Balhtin mentioned that the text was expanded to the three styles of carnivalization, chronotope, and polyphony by the novelist who expressed the relations between the author and the role, the self and the others by using words to develop the folk humorous culture of multi-dimensional coexistence and interaction. The Qian bei huai of Luo Yi Jun ingeniously used the character of dialog and his way of statement to show the three styles. This thesis analyzed the formation process of the main self-consciousness in the dialog of "pdyglossia" by discussing the practicality, sociality, and deep historical connotation of the author text. |
本系統中英文摘要資訊取自各篇刊載內容。