摘要
本文以茱莉亚·克里斯蒂娃的广义互文性理论和热拉尔·热奈特的狭义互文性理论为理论框架,探讨托妮?莫里森的三部小说《宠儿》、《柏油娃娃》和《最蓝的眼睛》中的互文性特点。莫里森是当代美国著名黑人女作家。她凭借厚重的文化积淀,细腻的笔触和过人的才智创作出一部部令人叹为观止的小说作品,表现了非裔文化和整个黑人民族在主流社会中求生存求发展而进行的种种艰难探索。她在创作中广泛吸收借鉴西方文化精华和价值观,同时又紧密结合本民族文化传统,因此作品中充满了深厚的文化内涵,这也正是本文对她的小说进行互文性研究的出发点。
互文性理论已成为当今最流行而且有效的理论分析工具之一。它为文学批评带来了新内容,提供了新视角。互文性的理论为索绪尔的语言符号理论和巴赫金的文本对话理论。前者指出了符号选择与前文本的联系,而后者强调了文本之间的指向关系。在语言学理论的基础上,互文性理论提出文本的意义在于它与前文本的相互联系中产生。克里斯蒂娃从广义角度讨论了文本与文化的关系,热奈特从狭义角度提出了互文性的五种具体形式。
本文以克里斯蒂娃的互文性理论为基础,从广义互文性角度探讨了莫里森三部小说中圣经文化和非洲传统的互文性特点。通过在文本中对基督教爱的宣扬和天堂神话的重塑,莫里森表达了黑人民族只有自强自爱才能寻求发展,只有继承民族传统才有未来的独特见解。同时,立足于热奈特的狭义互文性理论,论文探讨了三部小说中引用、典故、副文及模仿、转化等互文性特点的体现。莫里森直接或间接地歌颂或暗示黑人文化的独特魅力和黑人民族的优秀传统,同时提出固步自封不能永久地摆脱屈辱的过去留下的阴影;自怨自艾也不能改善黑人当前进退两难的处境。黑人唯有正视历史,面对现实,继承民族的宝贵遗产,走出对自我身份认识的困境,才能在以白人价值观为主流的社会中争得应有的一席之地。
本论文解析了莫里森小说中的互文密码,在更为宽泛的文化领域对文本进行批评分析。通过探寻小说文本与历史文本、文化文本、副文本、超文本等之间有据可循的联系,揭示了莫里森对民族未来的关注和探索。
This thesis employs Julia Kristeva’s broad-sense intertextuality and Gerard Genette’s narrow-sense intertextuality to study the intertextuality features of Toni Morrison’s three novels—Beloved, Tar Baby and The Bluest Eyes. Morrison is a famous black woman writer in contemporary America. By means of profound literary attainments, delicate observation and extraordinary intelligence, she has created a lot of impressive novels which display the difficult struggle of the African culture and the whole black race in the main-stream white society. She has widely absorbed the spirit and values of western culture, and at the same time, she firmly sticks to her own ethnic tradition. Therefore, her novels are rich in cultural connotations, which is the basis of the study of intertextuality in her novels.
Intertextuality theory has become one of the most popular and effective theoretical tools in literary analysis. It helps to discover new connotations in literary works and offers a new perspective for literary criticism. The theoretical basis of intertextuality are Ferdinand de Saussure’s linguistic sign theory and Mikhail Mikhailovich Bakhtin’s textual dialogism theory. The former indicates the relationship between the choice of the signs and the pre-texts, and the latter emphasizes that one text always points to other texts. On the basis of these two linguistic theories, the intertextuality theory stresses that the meaning of one text is produced in its relationship with the pre-texts. Kristeva discusses the relationship between the texts and the culture in the broad sense and Genette puts forward five subtypes of intertextuality in the narrow sense.
From the perspective of Kristeva’s broad-sense intertextuality, the thesis studies the intertextuality on the biblical culture and African tradition in Morrison’s three novels. Through the emphasis on self-love and the reconstruction of paradise, Morrison expresses her insightful view that the black race should value themselves and inherit their ethnic tradition to seek for development. Meanwhile, based on Genette’s narrow-sense intertextuality theory, the thesis explores the intertextual features of the three novels with regard to quotations, allusions, paratexts, imitations and transformations. Morrison directly or indirectly praises the uniqueness of the black culture and the good traditions of the black race. Furthermore, she emphasizes that the whole black race cannot free themselves from the shadow of the miserable past if they are conservative, let alone improve the current situation of the black people. Only when they face the history and the reality, inherit the ethnic tradition, and walk out of the dilemma of self identity, can the black people win what they deserve in a society dominated by white values.
This thesis decodes the cipher of intertextuality in Toni Morrison’s novels and analyses her texts against the broad cultural background. Through the discussion of the relationship between the texts of Morrison’s novels and the texts of history, cultural texts, paratexts and hypertexts, it reveals the deep concern of Morrison for the future of her race.
引文
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