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戏拟是《石头记》文本的一大特色,曹雪芹对于东方神话的戏拟性使用,堪称西方当代形式美学之“戏拟”的“先行者”;其对于死亡主题的处理亦呈现出鲜明的“反高潮”特征;曹雪芹采用新奇的文本策略,用玄幻预设了小说的大结构,其玄幻笔法正好暗合了西方当代形式美学中的游戏特质。小说从头至尾充斥着形式美学带给我们的视觉冲击力,却又贯穿洞悉历史的厚重的写实性叙事,贯穿着某些对于前世与未来的人类终极意义的严肃思考。后现代文本策略的运用并未使其成为内容空洞的技术性文本,而是从后现代突围出去,把读者引向对其所包含的历史情境的关注,成功地构建了小说与中国文学、文化的历史语境之间的对话关系。
Cao Xiqin’s dramatic use of oriental myths is called the “forerunner” of the western contemporary formal aesthetics; his treatment of the subject of death also Showing a distinctive “anti-climax” feature. With a novel text strategy, Cao Xueqin uses fantasy to presuppose the great structure of fiction, and his fantastic spelling coincides with the characteristics of the game in contemporary Western aesthetics. The novel is full of the visual impact brought by formal aesthetics from beginning to end, but it also penetrates the thick, realistic and realistic narrative of history and runs through some serious thinking of the ultimate meaning of mankind for the past and future. The use of the postmodern text strategy has not made it an empty technical text, but has been set out from the postmodernism to draw readers’ attention to the historical contexts it contains. It has successfully constructed novels and Chinese literature and culture The relationship between the historical context of the dialogue.