【摘要】：佩勒姆·格倫維爾·伍德豪斯是二十世紀(jì)最著名的英國(guó)幽默作家,他的創(chuàng)作風(fēng)格與二十世紀(jì)的現(xiàn)代主義文學(xué)潮流顯得有些格格不入。他的創(chuàng)作風(fēng)格使其獲得了巨大的聲譽(yù)與財(cái)富,也引起了廣泛而激烈的爭(zhēng)論。本文旨在討論伍德豪斯反諷式幽默的特征,以及該作家同其反諷式幽默的創(chuàng)作風(fēng)格之所以在20世紀(jì)中國(guó)遭遇接受困境的原因。本文主要包括三方面的內(nèi)容,具體如下： 第一,通過(guò)對(duì)國(guó)內(nèi)外有關(guān)伍德豪斯創(chuàng)作及相關(guān)幽默理論的研究現(xiàn)狀進(jìn)行梳理和綜述,指出伍德豪斯的幽默創(chuàng)作的風(fēng)格特點(diǎn)：它屬于狹義幽默中的反諷式幽默,創(chuàng)作側(cè)重點(diǎn)在于形式的審美性與游戲性,不必然指向外部意義。 第二,分析指出伍德豪斯的伯蒂-吉夫斯系列小說(shuō)所具有的反諷式幽默的特點(diǎn)：一方面它在整體敘事策略,結(jié)構(gòu)和語(yǔ)言三方面凸顯形式,并消解內(nèi)容的重要性；另一方面,這種反諷式幽默所具有的坎普性,形成于其精制的形式與消解了意義的內(nèi)容之間所形成的張力,也反映在作家的創(chuàng)作態(tài)度與人物形象中。 第三,從王國(guó)維、林語(yǔ)堂和魯迅等代表性作家所持“幽默”觀的內(nèi)涵切入,指出幽默文學(xué),尤其是反諷式幽默的創(chuàng)作是無(wú)功利的純文學(xué)的一種體現(xiàn),它與20世紀(jì)上半期注重文學(xué)功用的國(guó)難背景具有不相容性。而在新時(shí)期,反諷式幽默的引入受到意識(shí)形態(tài)、贊助人與詩(shī)學(xué)等方面的制約。大眾文化的興起為反諷式幽默的引入提供了契機(jī),但也為真正認(rèn)識(shí)并理解反諷式幽默制造了阻礙。
[Abstract]:Pelham Grunville Woodhouse is the most famous English humorist in the 20th century. His writing style made him gain a great reputation and wealth, and also caused a wide and fierce debate. The purpose of this paper is to discuss the characteristics of Woodhouse's ironic humor and the reasons why the writer and his style of satirical humor encountered the dilemma of acceptance in China in the 20th century. This paper mainly includes three aspects, as follows: first, through the domestic and foreign research on Woodhouse's creation and related humor theory to sort out and summarize. The author points out the style characteristics of Woodhouse's humor creation: it belongs to the irony humor in the narrow sense of humor, and the emphasis of the creation lies in the aesthetic and playful nature of the form, and it does not necessarily point to the external meaning. Secondly, it points out the ironic humor in Woodhouse's Bertil-Gives series: on the one hand, it highlights the form in three aspects: the whole narrative strategy, the structure and the language, and dissolves the importance of the content; On the other hand, the tension between the refined form of irony and the content of meaning is also reflected in the writer's creative attitude and character image. Thirdly, from the connotation of the "humor" view held by the representative writers, such as Wang Guowei, Lin Yutang and Lu Xun, it is pointed out that humorous literature, especially the creation of ironic humor, is a manifestation of pure literature without utilitarianism. It is incompatible with the background of the national disaster which focused on literary function in the first half of the 20 th century. In the new era, the introduction of irony humor is restricted by ideology, patronage and poetics. The rise of popular culture provides an opportunity for the introduction of irony humor, but it also creates obstacles for the real understanding and understanding of irony humor.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：I561.06;I206.6

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本文編號(hào)：2363515