哲学·美学·文学思潮中的杜拉斯

目录 引言········································································1 章对话与复调：杜拉斯的对话系列······························4 节“互文”理论之源：对话主义································6 一、对话理论的研究对象与研究方法······························7 二、对话主义·························································12 三、复调概念·························································18 四、巴赫金的哲学与美学思想·····································26 节《广场》：对话的痛苦········································32 一、小说或戏剧：突破体裁的界限································33 二、“对话小说”与“复调小说”·································46 第三节《琴声如诉》：复调的爱情之歌·····························53 一、传统：的人物塑造··································55 二、作者“身份”之变··············································61 三、主体间的对话：关键的他者··································6节《广岛之恋》：对话与复调··································71 一、《广岛之恋》中复调的起源····································73 二、对位元素·························································、互相依存的人物关系与自我意识的觉醒····················8、共时：重叠的时空···········································94 五、对话及声音的二重·········································101 章从“对话”到“互文”：解析印度系列····················107 节“互文”理论的源与流·····································109 一、由对话与狂欢化概念演变而来的“互文”····················110 二、质疑主体·····················································115 三、阅读理论·······················································123 四、诗学方向·······················································128 节印度系列中的狂欢化元素·································132 一、狂欢文化与文学···············································133 二、《副领事》的怪诞现实主义：加尔各答的女乞丐·········138 三、狂欢之地：宴会与舞池·······································144 四、狂欢化：冲破固有法则·······································14节被质疑的全知视角：杜拉斯与互文理论家的作者观··154 一、作家与写作·····················································155 二、对全知与的反叛：印度系列···························162 第四节对印度系列的互文阅读····································183 一、《劳尔之劫》与《安娜?卡列尼娜》中的互文本···········184 二、互文视角下的《爱》·········································193 三、印度系列中的神圣元素·······································3 第三章“主体间”的复归：情人系列·····························9 节文本间与主体间·······································211 一、写作与阅读：从“互文”到解构····························211 二、主体间与文学···············································21、文本间与主体间的互补······························223 节情人系列与狂欢化·········································228 一、《抵挡太平洋的堤坝》：狂欢的基调·························229 二、《情人》：严肃与狂欢·········································239 三、《来自中国北方的情人》：温柔之歌·························246 第三节情人系列与解构主义·······································251 一、解构视角的文学批评：情人系列···························252 二、其他有解构主义倾向的批评·································263 三、解构与后现代···············································269 第四节他与主体间：对话中的我与他······················276 一、神迷他者：恒河女子·········································277 二、追寻自我：母与女人····································282 三、他与主体间：东方与西方······························290 结语·····································································295 参考文献···································································300