【作者】 张菁；

【导师】 张艳艳；

【作者基本信息】 汕头大学 ， 中国语言文学， 2022， 硕士

【摘要】 就研究对象而言,学界对于《庄子》中动物书写的研究已蔚然可观,但在新冠疫情肆虐的当下,以《庄子》中的动物书写为切入点,重新思考人类与动物之间的关系依旧是具有较强现实意义的。而从研究方法上看,罗兰·巴特的作品在思想和写作形式上都与《庄子》有较多契合之处,同时其叙事学理论的适用范围囊括了不同时代、国度和形式的内容,其叙事学本身包含的内容又横跨经典和后经典两个阶段,因此能为《庄子》中动物书写的研究提供有效而丰富的方法论资源,助力开拓出新的研究成果。本文第二部分通过截取《庄子》中所有涉及动物的文句,在内容和形式层面上分别进行了分类细化,内容上补充进“动物身体部位”“与动物相关的工具”“与动物相关的零碎活动”“起形容词功效的动物”等四种以往被忽略的类型,形式上则新总结出“角色高谈”“作者默叙”“动物人格化”以及“《庄子》中的庄子”四种叙述模式。在叙述模式的框架内,动物在文中所起的作用能被较清晰地辨识出来——有“作为工具”“比附人物”以及“作为例证”三种,而只有“作为例证”的动物才是别有深意的动物意象、寓言,前两类动物并不属此范畴。第三部分通过引入罗兰·巴特经典叙事学的描写层次理论,将学界既有的“人-物”关系讨论从行为层拓展至功能层和叙述层,由此丰富了“人-物”关系中“人”的维度(行为层对应书中角色,叙述层对应作者和读者),进而使“人-物”之间的复杂关系得以呈现,在学界既有的“和谐”结论之外,还发现了敌对、主客、分级等多种关系类型。在“研究维度”的问题上,本文第二部分四种叙述模式的总结已是形式维度的开发尝试,而在第四部分中,则首先通过辨析动物寓言与重言、卮言的交叉关系,归纳出“重言式动物寓言”和“卮言式动物寓言”两种言说方式,继而在罗兰·巴特后经典叙述学的启发之下,引入政治、文化等外部因素对其进行解读,最终从第一种动物寓言中读出庄子的政治批判,从第二种动物寓言中读出庄子对于文学创作的游戏态度,故而这一部分既是对形式维度的进一步开发,亦是对内容维度的进一步补充。更多还原

【Abstract】 As far as the research object is concerned,the academic circle has already conducted considerable research on the animal writing in Chuang tzu.However,it is still of great practical significance to reconsider the relationship between humans and animals by taking the animal writing in Chuang tzu as a starting point in the current outbreak of COVID-19.From the perspective of research methods,Roland Barthes’ works have much in common with Chuang tzu in both thoughts and writing forms.Meanwhile,the scope of application of his narratology theory covers the contents of different times,countries and forms,and the contents of his narratology itself span the two stages of classical and post-classical,so it can provide effective and abundant methodological resources for the research of animal writing in Chuang tzu and help to develop new research results.The second part of this paper classifies and refines all the sentences involving animals in Chuang tzu at the level of content and form.In terms of content,four previously neglected types such as "parts of body of animals" "appliances related to animals","piecemeal activities related to animals" and "animals with adjective effect" are added.In terms of form,four new narrative modes are summarized,they are "roles’ talking" "the narration of author" "personalized animals" and "Chuang tzu in the Chuang tzu".Within the framework of the narrative model,the function of animals in the text can be clearly identified,including "being a tool" "describing a character of the book" and "being an example illustration".And in fact,only the "being an example illustration" animals are animal images and fables with profound meanings,and the first two kinds of animals do not belong to this category.The third part of this paper expands the discussion of the relationship between people and animals from the existing behavior level to the function level and narrative level by introducing the description level theory of Roland Barthes’ s classic narratology,which enriches the dimension of people in the "people-animal" relationship(the behavior level corresponds to the role in the book,and the narrative level corresponds to the author and reader),so as to present the complex relationship between people and animals.In addition to the existing "harmony" conclusion in the academic circles,many relationship types such as "hostility" "subject-object" "hierarchy" and so on have been found.In view of the problem of "research dimension",the summary of the four narrative modes in the second part of this paper is an attempt to develop the formal dimension.And in the fourth part,firstly,by separately analyzing the crossed relationship between the animal fables and zhongyan,the animal fables and zhiyan,this paper summarizes the two speech modes of "animal fables mixing with zhongyan" and "animal fables mixing with zhiyan".Then inspired by Roland Barthes’ s post classical narrative theory,we may introduce political,cultural and other external factors to interpret the two kind of above animal fables,and finally interpret Chuang tzu’s political criticism from the first animal fable and his game attitude towards literary creation from the second animal fable.Therefore,this part is not only a further development of the formal dimension,but also a further supplement to the content dimension.更多还原