漂流的後花園‧游離的呼蘭河－－論蕭紅作品裡的空間意象群

淡江大學機構典藏 > 文學院 > 中國文學學系暨研究所 > 學位論文 > Item 987654321/34445

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題名:	漂流的後花園‧游離的呼蘭河－－論蕭紅作品裡的空間意象群
其他題名:	The drifting backyard and the meandering Hulan river - on spatial imageries in Xiao Hong's works
作者:	李婉玲;Li, Wan-ling
貢獻者:	淡江大學中國文學系碩士在職專班呂正惠;Lu, Cheng-hui
關鍵詞:	蕭紅;空間意象;心靈;家園;鄉土;國族;Xiao Hong;Spatial Imageries;mind;Home;native land;Nation
日期:	2007
上傳時間:	2010-01-11 05:16:47 (UTC+8)
摘要:	一、研究目的：　　本文擬以作者創作的諸文本為經，並嘗試以作者的流亡史為緯，來詮釋蕭紅作品中極其獨特的空間要素，和此空間要素所組構而成的蕭紅式的文學世界。二、文獻探討　　自一九四二年以來，兩岸三地皆有專書及論文的發表，然就其學術研究的質和量而言，大陸學界對蕭紅的論著歷年來始終未曾間斷，且不論在深度及廣度上都十分值得重視，各種面向的論著對於從事蕭紅研究的後學者，極具參考價值，因此筆者將大陸學術界的研究資料加以彙整，置於論文的附錄一，以供參酌。　　至於台灣方面對蕭紅的研究，一方面由於早期資料取得不易，再者，台灣近年來著力於台灣文學的研究，對大陸文學的研究相對減少，因此，筆者深感對於蕭紅的文學研究工作，在台灣的學術界尚有相當大的研究空間，亦將台灣的研究資料彙編於附錄二。　　香港的學界對於蕭紅的研究則多著重於其生平事蹟的探討，及蕭紅赴港時期的生活，包括死後葬港遷墓等事跡的報導，而關於香港、美、日、韓、蘇籍學者的論著，將放置於附錄三之中。三、研究內容與方法　　筆者以其生命中的兩大具體空間意象－－「後花園」及「呼蘭河」，來作為詮釋其創作動機的註腳符號，說明蕭紅獨有的原鄉意識與情結。並且透過文本解析的方法，來探討蕭紅作品中由「空間意象群組」所營造而成的敘事結構，來詮釋所謂「蕭紅體」的獨特風格所在，及其空間意象所呈顯的文學意涵。四、研究結論　　筆者以漂流的後花園、游離的呼蘭河，這兩大既現實又抽象的概念，來詮釋蕭紅作品裡的四大空間意象群，所要提出的就是一個不同於過去論者所著重的論點，當蕭紅被定位為一個自傳型作家、抒情體女性作家，或將其作品歸類為鄉土文學、抗日文學時，筆者衷心期待能從這些既有的思維中，找到一個更有系統也更貼近於原創者的詮釋角度，因此，筆者試圖在這個由心靈、家園、鄉土、國族四大意象所組成的同心圓空間架構中，藉由蕭紅作品裡所含涉的空間意象，來論證其「蕭紅體」的具體風格與特色。關鍵詞：蕭紅　空間意象　心靈　家園　鄉土　國族 I. Introduction Based on the author’s whole collection of works and her history of exile, this study attempts to explicate the unique spatial elements in Xiao Hong’s works and her exceptional literary world which these elements constitute. II. Literature Since 1942, there have been a great number of books and essays published regarding Xiao Hong’s works. However, as far as the quantity and quality of academic theses is concerned, apparently the academic circle in Mainland China has constantly devoted to the study of her works, winning acclaims either in depth or in width. To those who set their eyes on studying the author’s works, these comprehensive research materials are of great reference value. As a consequence, the research materials from Mainland China are compiled in Appendix I as reference. As for the studies of Xiao Hong here in Taiwan, for one thing, some previous materials are hard to obtain; for another, most scholars in Taiwan are absorbed in the researches of Taiwanese literature and accordingly pay little attention to literature of Mainland China. For the reasons mentioned above, the author of this study feels that there is still great room for the research of Xiao Hong’s works in Taiwan and compiled the research materials of Taiwanese scholars as Appendix II. The focus of Hong Kong academic circle has been on Xiao Hong’s life stories, especially the period when she lived in Hong Kong and the post-mortem transfer of her tomb there. The research materials of scholars from Hong Kong, the U.S. and Japan are incorporated into Appendix Ⅲ. III. Research Method The two spatial imageries in Xiao Hong’s life – “Backyard” and “Hulan River” – are employed in this research as the guiding symbol with a view to sheding light on her literary creation and her particular homeland consciousness and complex. Furthermore, by means of text analysis, this research also explores the notable narrative structure in her works which is constructed by her “spatial imageries”. In this way, the unique style of Xiao Hong and the literary meaning represented by the spatial imagery can be clarified and made comprehensible. IV. Results In this research, the two concrete and yet abstract concepts – the drifting backyard and the meandering Hulan River – are adopted to interpret the four spatial imageries in Xiao Hong’s works, resulting in a point different from all the others in the past. By categorizing Xiao Hong as a autobiographical writer and a lyrical female writer, or her works as native literature and anti-Japan literature, the author of this research sincerely hopes that among the current stereotypical interpretations of Xiao Hong, there can be a different one that is more systematic and truer to the writer. Hence, in the concentric circle composed of the four imageries of mind, home, native land and nation, the author has demonstrated Xiao Hong’s distinguishing style and feature through the spatial imageries manifested in her works.
顯示於類別:	[中國文學學系暨研究所] 學位論文

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