康拉德黑暗的心

LOGO艺术家本身就是背离现实的人，通过艺术创作的途径，艺术家实际上就成为自己渴望的英雄、帝王、创造者和受人钟爱的人物，再也不用走实际改变世界的迂回小路了。——弗洛伊德LOGOThetensionbetweenthecomicandhorribleisthecentaltoConrad'snovel细思极恐LOGOPage3Heartofdarknessthewildernesshadpattedhimonthehead,and,behold,itwaslikeaball-anivoryball;ithadcaressedhim,and-lo!-hehadwithered;ithadtakenhim,lovedhim,embracedhim,gotintohisveins,consumedhisflesh,andsealedhissoultoitsownbytheinconceivableceremoniesofsomedevilishinitiation.Hewasitsspoiledandpamperedfavourite.(Page50)——JosephConrad这片荒原曾轻轻拍打过他的头，看吧，他的头就像一个球——一个象牙球。这片荒原曾爱抚过他，于是，他枯萎了；荒原俘虏了他，爱上了他，拥抱了他，进入了他的血脉，耗尽了了他的肉体，还以某种不可思议的魔鬼人盟仪式，使他的灵魂与荒原融为一体。荒原宠着他，纵着他。LOGOPlotReviewananonymousIbeginsthenarrationdescribingthesettingintroducingthecharactersremindingthereaderofhisnarrativevoiceMarlow'snarrationhisexperiencewokingasacaptainforanivorytradingcompanyouterstationchiefaccountant;strikedbyasceneofdevastationcentalstationmanager+brickmaker;findKurtzisfarfromadmired,butmoreorlessresentedinnerstationRussianharlequin+Kurtz.LOGOLiteratureReviewGohnGPetersTheCambridgeIntroductiontoJosephConrad1920s-1930sBiographicalCriticism1940s-1960spsychoanalysis1980s-1990spost-structuralism+post-colonism+feministcriticism王松林《康拉德小说伦理观研究》精神分析+原型批评+巴赫金理论+解构主义+女性主义+马克思主义+叙事学批评+后殖民主义+新历史批评整理为九大流派分析LOGOLiteratureReviewModernism:Kurtzisseenasatypeofthemodernartistwhocourageouslyrejectstheblandliesofcivilization,darestotransgressthetaboosofhissocietyandrediscoversaterriblenewkindofimaginativeenergyFreudians:thejourneyintocongohasbeeninterpretedasavoyageintothewildernessofself-discoveryMarxistpointofview:KurtzisanembodimentofalltheevilscreatedbyfreeenterpriseinacapitalistsystemAnti-imperialists:drawattentiontothesufferingandtortureofthenativesandusethestoryasatractagainstthecolonialpowers.LOGOLiteratureReviewImpressionism:Conradrendersscenes,charactersandactionsinthwayashumanbeingsperceivethemratherthaninanorderly-organizedway.Narrationperspective:first-personretrospectivenarration.HumanNature:theevilsideofhumannatureSymbolism:naturalimages+characters+ivory...LOGOPolyphonicinterpretationpolyphonicvoicesindifferenttalkscarnivalesqueovertoneinthescenedescriptiondialogismamongthecharactersnarrativestructuresinterpretationnarrativeunitsrelationshipsbetweenthenarrativeunitsLOGOMikhaiLBakhtin'stheoryofnovelisticpolyphonypolyphony（复调）isadescriptiongivenbyBakhtininhis1929bookProblemsofDostoevsky'sArt（陀思妥耶夫斯基诗学问题）tothekindofnovelthatDostoevskyhadinitiated.BakhtindescribesDostoevsky'snovelsthus:“Apluralityofindependentandunmergedvoicesandconsciousnesses,agenuinepolyphonyoffullyvalidvoicesisinfactthechiefcharacteristicofDostoevsky'snovels”.(有着众多的各自独立而不相融合的声音和意识，由具有充分价值的不同声音组成的真正的复调）科普时间到啦Adefiningfeatureofpolyphonyisthecharacterofamainvoiceandtheraisingofaccomponyingvoicestothestatusofcounter-voices.LOGOわかりましたかmonologicalnovelspolyphonicnovelscentralization向心化decentalization离心化asingle,authoritativenarrativevoice,authorunifiesallelementstocreatasinglepointofview,worksarenarratedbyaunitaryabsoluteauthoritythatallowsfornocontestingvoices.seeminglydiscursive(散漫的，东拉西扯)centifugal,fragmenttendency,differingvoiceswhichstandsassubjectsintheirownrightratherthanasobjectsofauthorialnarratorialdiscourseM:authoritativediscourse,demandsourunconditionalallianceP:internallypersuasivediscourse,halfoursandhalfsomeoneelse'sLOGOdialogism对话模式Brecht’sDramaTheorythreefeaturesofapolyphonicnovelpolyphony复调carnivalesque狂欢化LOGOcarnivalisque狂欢化aliterarymodethatsubvertsandlibertratestheassumptionsofthedominantstyleoratmospherethroughhumorandchaosBakhtinderivesthecarnivalizationofliteraturefromthereignofthe“Serio-comical”withtheexamplesofSocraticdialogues(苏式问答法)andMenippeansatire(梅尼普讽刺诗体).carnivalisqueisfeaturedbyitscomiccaricature（漫画式手法),ludicrousimagery(滑稽形象),smirkingunderstatement(傻笑式陈述)andalightjoculartone(打趣式语气).LOGOBakhtin'sfourcategoriesofthecarnivalisticsenseoftheworld:Familiarandfreeinteractionbetweenpeople(bringtheunlikelyofpeopletogether,encouragtheinteractionandfreeexpressionofthemselvesinunity)Eccentricbehavior(unacceptablebehaviorisaccepted)Carnivalisticmisalliances(allowseverythingthatmaynormallybeseparatedtoreunite—HeavenandHell,theyoungandtheold,etc.Sacrilegious(allowedforSacrilegiouseventstooccurwithouttheneedforpunishment)LOGODialogismdialogismmonologismnotbenarcissisticextensionofauthorsshuttingdownofdialogueanditsaltericpotentialdialogicalselfinterfaithdialoguephilosophyofdialogue+dialogicalanalysisself-confrontationmethodquestionnairemethodcooperative,constructivepositiveinteractionbetweenpeopleofdifferentreligioustraditionsLOGO巴赫金认为，陀思妥耶夫斯基的小说艺术世界中，人物的个性和意识是处于对话的状态中。如果要给陀思妥耶夫斯基的这种小说世界找一个形象的比喻的话，那么巴赫金认为用“教堂”是最恰当不过了。在教堂里往往各种人聚集在一起，有圣洁行善的教徒，也有罪不容诛的恶人，有灵魂升华的人，也有死不悔改之徒。教堂通常被认为是那些相互独立、难以沟通的灵魂可以共存的一个场所，就像但丁描绘的世界一样。P196在文学创作上，巴赫金主要研究了受狂欢化作用影响的一些文学体裁与作家创作。在古希腊罗马时期有古代风雅喜剧、罗马各种形式的讽刺体文学，特别是庄谐体文学。在中世纪出现了大量讽刺性闹剧、笑剧、诙谐文学及宗教警世剧和神秘剧。P198LOGO上帝与魔鬼在那里搏斗，战场便在人们心中巴赫金认为，妥妥对话的基本公式表现为“我”与“别人”对立的人与人的对立。这种对话有两种基本形式：一种是人物之间的对话，另一种是人物自身内心的对话。这后一种对话又有两种表现形式，即自己内心矛盾的冲突和把他人意识作为内心一个对立的话语进行对话。这两种具有不同指向性的对话，被巴赫金称为是双声语对话。LOGOpolyphonicno