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哲学·美学·文学思潮中的杜拉斯 版权信息
- ISBN：9787310063857
- 条形码：9787310063857 ; 978-7-310-06385-7
- 装帧：一般胶版纸
- 册数：暂无
- 重量：暂无
- 所属分类：>>
哲学·美学·文学思潮中的杜拉斯 内容简介
本书是以跨学科的视角，将人文思潮的历史嬗变引入专题作家研究，对法国当代女作家杜拉斯进行文学创作动态考察的一部文学批评专著。玛格丽特?杜拉斯，法国小说家、剧作家、电影编导、20世纪世界文坛熠熠生辉的女性天才之一，殖民、战争、性别问题为其创作描上浓墨重彩，新小说、新戏剧、电影新浪潮见证她变中求新、特立独行。本书在多姿多彩、人言人殊的既有成果中另辟蹊径，聚焦对话、狂欢、解构、文本间性、主体间性等20世纪哲学、美学、文学关键词，动态考察女作家三个时期、九部作品中所表现的东方与西方、传统与现代、自我与他者、独白与复调、全知与多声、男性与女性、爱欲与道德、生与死、罪与罚等一系列问题，力求以全景式的视角、波浪式的推进呈现杜氏思想与时代思潮间的碰撞与交叠、异质与对话。
哲学·美学·文学思潮中的杜拉斯 目录
目录 引言········································································1 章对话与复调：杜拉斯的对话系列······························4 节“互文”理论之源：对话主义································6 一、对话理论的研究对象与研究方法······························7 二、对话主义·························································12 三、复调概念·························································18 四、巴赫金的哲学与美学思想·····································26 节《广场》：对话的痛苦········································32 一、小说或戏剧：突破体裁的界限································33 二、“对话小说”与“复调小说”·································46 第三节《琴声如诉》：复调的爱情之歌·····························53 一、传统：的人物塑造··································55 二、作者“身份”之变··············································61 三、主体间的对话：关键的他者··································6节《广岛之恋》：对话与复调··································71 一、《广岛之恋》中复调的起源····································73 二、对位元素·························································、互相依存的人物关系与自我意识的觉醒····················8、共时：重叠的时空···········································94 五、对话及声音的二重·········································101 章从“对话”到“互文”：解析印度系列····················107 节“互文”理论的源与流·····································109 一、由对话与狂欢化概念演变而来的“互文”····················110 二、质疑主体·····················································115 三、阅读理论·······················································123 四、诗学方向·······················································128 节印度系列中的狂欢化元素·································132 一、狂欢文化与文学···············································133 二、《副领事》的怪诞现实主义：加尔各答的女乞丐·········138 三、狂欢之地：宴会与舞池·······································144 四、狂欢化：冲破固有法则·······································14节被质疑的全知视角：杜拉斯与互文理论家的作者观··154 一、作家与写作·····················································155 二、对全知与的反叛：印度系列···························162 第四节对印度系列的互文阅读····································183 一、《劳尔之劫》与《安娜?卡列尼娜》中的互文本···········184 二、互文视角下的《爱》·········································193 三、印度系列中的神圣元素·······································3 第三章“主体间”的复归：情人系列·····························9 节文本间与主体间·······································211 一、写作与阅读：从“互文”到解构····························211 二、主体间与文学···············································21、文本间与主体间的互补······························223 节情人系列与狂欢化·········································228 一、《抵挡太平洋的堤坝》：狂欢的基调·························229 二、《情人》：严肃与狂欢·········································239 三、《来自中国北方的情人》：温柔之歌·························246 第三节情人系列与解构主义·······································251 一、解构视角的文学批评：情人系列···························252 二、其他有解构主义倾向的批评·································263 三、解构与后现代···············································269 第四节他与主体间：对话中的我与他······················276 一、神迷他者：恒河女子·········································277 二、追寻自我：母与女人····································282 三、他与主体间：东方与西方······························290 结语·····································································295 参考文献···································································300
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哲学·美学·文学思潮中的杜拉斯 作者简介
张婷，西安外国语大学欧洲学院副教授，法国艾克斯??马赛大学法国语言文学博士，西安外国语大学法国文学与翻译研究方向博士。主要从事法国文学与翻译、女性文学、西方文艺理论研究；出版专著1部，译著4部，发表学术论文11篇，主持完成省、厅、校级科研项目4项。
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