西方文学对鲁迅的《狂人日记》的影响 毕业论文外文文献翻译

西方文学对鲁迅的《狂人日记》的影响毕业论文外文文献

翻译

中国矿业大学徐海学院

本科生毕业论文

姓名: 学号: 22121190

学院:中国矿业大学徐海学院

专业:汉语言文学

论文题目:果戈里《狂人日记》和鲁迅《狂人日记》

比较研究

专题:现代文学指导教师: 职称:副教授

徐海学院汉语言文学专业本科毕业论文

摘要

果戈里和鲁迅活跃于不同时代，他们都创作了同名小说《狂人日记》。两部作品都代表了各自的璀璨时代。它们均刻画了“狂人”这个人物形象，均采用了“日记体”这个特别的格式，从第一人称展开叙述并从主观角度深刻剖析了主人公的内心世界，在叙述风格和对话式叙事上也有共同的体现。然而，狂人的形象、日记体的风格以及文章的美学内涵解读也有所不同。本文通过同中求异的方法，阐述了狂人形象的选择原因与异同点——鲁迅笔下狂人的痴狂和果戈里笔下狂人的真狂铸造了各自不同的血肉形象，研究了它们各自的题材形式和艺术成就，分析了同名小说《狂人日记》在悲剧意识和讽刺艺术方面的异同，在比较文学视域下从方法论的层面解读这两部作品。

关键词:果戈里鲁迅狂人日记比较

徐海学院汉语言文学专业本科毕业论文

ABSTRACT

Gogol and Lu Xun active in different times, they have created the novel ‘the diary of a madman’. The two works are represented their bright days. They all depict the character image of ‘madman’ and adopt the special format of‘diary style’, from t he first-person narrative and deeply analyze the hero's inner world from the subjective Angle, the narrative style and also have a common reflect on the conversational and narrative. However, the image of the madman, an implicative meaning of the style and the aesthetic connotation of interpreting the work are also different. With the new method, this paper expounds the madman image similarities and differences in the choice of reason and - mad crazy and Lu Xun's madman Gogol's really crazy casting the flesh and blood of the different image, studies their respective subjects form and artistic achievement, analyzes the novel ‘the diary of a madman’ in tragedy consciousness and the similarities and differences between irony art, interpreting the two works under the perspective of comparative literature from the aspect of methodology.

Keywords: Gogol Lu Xun the diary of a madman comparative

徐海学院汉语言文学专业本科毕业论文第1页

目录

绪

论 ..................................................................... ............................................ 2 一、狂人——真狂与痴狂......................................................................

............... 2 二、表现形式和艺术成就的异同...................................................................... (5)

(一)第一人称叙述的日记体形

式 (5)

(二)现实主义和象征主义相结

合 (7)

三、美学取向——穿插喜剧的悲剧和贯穿始终的悲

剧 (9)

结

论 ..................................................................... .......................................... 11 注

释 ..................................................................... .......................................... 13 参考文

献 ..................................................................... .................................... 14 致

谢 ..................................................................... .......................................... 15 附

录 ..................................................................... (16)

英文标

题 ..................................................................... .. (16)