自八十年代始，中國大陸文藝雜誌相繼出現一批帶筆記風格或直接以筆記體寫作的短篇小說。研究者不僅探討此等作品轉化運用傳統文體的寫作現象及美學特徵，更為配合「新時期」之文藝氣象，進而以「新筆記小說」的文類加以歸納，突出其「舊瓶新酒」的現代意義。新筆記小說與筆記傳統的連繫，無疑為論者提供最佳範本，展開「傳統」與「現代」對話和融合的可能性的探討。相關討論嘗試為新筆記小說爭取文學史位置，卻無法脫離「新」與「舊」、「傳統」與「現代」簡單的二分框架，弱化了這些短篇小說作為探索新時期寫作出路的尖兵角色。本文重新提出新筆記小說的研究，認為是理解八十年代文藝界重新定義、拓展現實主義和小說實踐的關鍵。新筆記小說作家結合筆記與小說的特性，其實已觸及敘事的真實與虛構的辯證，在中國的紀實傳統中力尋書寫現實的可能。本文分別以汪曾祺 (1920-1997)、林斤瀾 (1923-2009)和鍾阿城 (1949- )的新筆記小說為研究個案，探討三位作家如何借用筆記小說的文體結構和敘事特質，形構現實主義小說的另類形式，突破意識形態對「現實主義」小說的制約。與此同時，當「現實主義」在「現代性的追求」壓力下面臨一元性的崩解，新筆記小說作家堅持「擬真」的嘗試，顯得意味深長，本文將作進一步的討論。 / Since the 1980s, a number of fictions written in the note-form have emerged in literary magazines on Mainland China. These works were put under a genre named "New Anecdote" (XinBiji Xiaoshuo, 新筆記小說) which implies the transformation from the classical anecdote to the modern anecdote. Researchers put emphasis mainly on the classical aesthetic characteristics found in the new form of the anecdote. However, it is observed that their studies were limited to the simple framework based on the binary oppositions of "old" and "new" as well as "traditional" and "modern". Such discussion had obscured the actual role of the new anecdotes being taken in the particular historical context of China in the New Era. / The form of "New Anecdote" is, in fact, a fusion of note and fiction, which can possibly hit the border of realistic and imaginary narratives. The practice of "New Anecdote" is closely related to the development of Realism in China in the Twentieth Century. Based on the discussion about "reality" from the writers of new anecdotes, this thesis attempts to point out that the "New Anecdote" is a key to understand how the writers of the time re-defined the realistic writings and their relationship to the society in China in the 1980s. / This thesis gives an in-depth analysis of the new anecdotes written by three contemporary writers, namely Wang Zengqi 汪曾祺 (1920-1997), Lin Jinlan 林斤瀾 (1923-2009) and Zhong Acheng (Ah Cheng) 鍾阿城 (1949- ). It will illustrate how these three writers make use of the structure and the narrative style of the anecdote to re-create new forms of realistic fiction, and to achieve their aims of breaking through the ideological constraints of Realism. Meanwhile,since realistic fiction has been considered as an antiquated and declining form under the development of aesthetic modernity in China in the 1980s, it is crucial to profoundly discuss the essence of the new anecdotes with reference to the socio-historical background of the New Era. / Detailed summary in vernacular field only. / 王素韻. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 113-131). / Abstracts also in English. / Wang Suyun.
| Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_1202833 |
| Date | January 2015 |
| Contributors | 王素韻 (author.), 鄺可怡 (thesis advisor.), Chinese University of Hong Kong Graduate School. Division of Chinese Language and Literature. (degree granting institution.), Wang, Suyun (author.), Guang, Keyi (thesis advisor.) |
| Source Sets | The Chinese University of Hong Kong |
| Language | Chinese, English |
| Detected Language | English |
| Type | Text, bibliography, text |
| Format | electronic resource], electronic resource, remote, 1 online resource (131 leaves), computer, online resource |
| Coverage | 20th century |
| Rights | Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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