在廣場上的身體──論余華《兄弟》裡的狂歡敘事

dc.contributor國立臺灣師範大學國文學系zh_tw
dc.contributor.author石曉楓zh_tw
dc.date.accessioned2015-01-29T09:14:52Z
dc.date.available2015-01-29T09:14:52Z
dc.date.issued2012-03-01zh_TW
dc.description.abstract本文試圖由「身體」角度切入,觀看余華《兄弟》裡廣場身體的狂歡演出。全文分別由「公眾廣場上的身體演出」、「低下書寫與政體嘲諷」及「在時間裡變異的身體」三方面進行論述。「公眾廣場上的身體演出」部分指出性的宣揚、暴力的鬥毆以及死亡的展演,為劉鎮此一公眾廣場的重要景觀。「低下書寫與政體嘲諷」部分指出余華的修辭策略,在於藉由身體孔穴的低下書寫,表達戲仿意圖,並將上述的「卑賤身體」與象徵意義上的「莊嚴身體」並置,從而產生嘲諷效果。「在時間裡變異的身體」一節則以「展示的身體」、「高大的身體」、「代罪的身體」以及「哭泣的身體」,分別統攝李光頭、宋凡平、李蘭、宋鋼等人物形象所表徵的意義。末以論述《兄弟》對於身體血統論的顛覆以及狂歡意義的討論作結。zh_tw
dc.description.abstractBased on Mikhail Mikhailovich Bakhtin’s carnival theory, we analyzed the characters’ carnival performance in Yu Hua’s Brother from the perspective of the “body.” First, we explained how sex, violence and fi ghting, and death were important events that were held in the public square of Liu town (劉鎮). Second, we discussed how Yu Hua (余華) often creates parodies through passive writing of the cavities of the human body. He also tends to combine “the servile body” and “the solemn body” as a method of ridicule. Then, we use “the displayed body,” “the sublime body,” “the scapegoat body,” and “the crying body” to highlight what the characters Li Guangtou (李光頭), Song Fanping (宋凡平), Li Lan (李蘭), and Song Gang (宋鋼) represent, respectively. This study concludes that Brother is an instinctive subversion.en_US
dc.identifierntnulib_tp_B0126_01_076zh_TW
dc.identifier.issn2074-5192zh_TW
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/43790
dc.languagezh_TWzh_TW
dc.publisher國立臺灣師範大學zh_tw
dc.relation師大學報. 語言與文學類,57(1),103-128。zh_tw
dc.subject.other兄弟zh_tw
dc.subject.other巴赫金zh_tw
dc.subject.other余華zh_tw
dc.subject.other狂歡節zh_tw
dc.subject.other身體zh_tw
dc.subject.otherBrotheren_US
dc.subject.otherMikhail Mikhailovich Bakhtinen_US
dc.subject.otherYu Huaen_US
dc.subject.otherCarnivalen_US
dc.subject.otherBodyen_US
dc.title在廣場上的身體──論余華《兄弟》裡的狂歡敘事zh_tw
dc.titleThe Body in the Square--Narrative of a Carnival in Yu Hua's Brotheren_US

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