從加冕到脫冕——論《黑王子》狂歡化敘事特征

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1、　　From Crowning to Decrowning：　　A Study on the Carnival Narrative Features　　in The Black Prince　　A Thesis Submitted to Chongqing University

2、;　　in Partial Fulfillment of the Requirement for the　　Degree of Master of Arts　　By　　Zheng Jie<

3、;p>　　Supervised by Professor Mao Lingying　　Major：English Language and Literature　　Foreign Languages College of Chongqing University,　　Chongqing, China<

4、/p>　　May 2011　　M.A.Thesis of Chongqing University　　中文摘要　　摘要　　艾麗絲

5、·默多克（1919-1999）是當(dāng)代英國文壇一位有國際聲譽(yù)的杰出的小說　　家、藝術(shù) 理論家和哲學(xué)家，在文學(xué)和哲學(xué)兩方面著述甚豐。她兼具哲學(xué) 家和小說　　家雙重身份，喜歡把小說當(dāng) 成闡述自己哲學(xué) 思想的一種工具。她的小說從某種程

6、　　度上說，就是運(yùn) 用藝術(shù)想象和文學(xué)演繹的方法探索和展示她關(guān) 于人生經(jīng) 驗(yàn) 和現(xiàn)實(shí)　　本質(zhì) 的最基本的哲學(xué) 理念，如臆想、愛、關(guān) 注和善。默多克特別關(guān) 注現(xiàn) 代人在世　　界上對愛和善等概念的探求，并指出在此過程中現(xiàn) 代人精神上存在的最嚴(yán) 重病癥<

7、/p>　　就是“臆想”，只有在善的指引下，把他人看成和自我一樣有著獨(dú)特性的個(gè)體，而　　不是用臆想代替關(guān)注，才能認(rèn)清真實(shí)。　　小說《黑王子》出版于 1973 年,為默多克贏得了當(dāng)年的詹姆斯·泰特紀(jì)念獎(jiǎng),同　　時(shí) 也被認(rèn) 為是她后期的代表作品。在默多克的精

8、心設(shè)計(jì) 下，全體小說中的人物展　　開了一場顛覆性的脫離原本軌道的盛大表演，整個(gè)背景都置于一種狂歡式的 “人　　類的第二種生活”模式，刻意打破日常生活的禁忌與約束，把日常生活中隱藏的　　人性和真理赤裸裸地暴露出來。雖然評論家們紛紛從作品的哲學(xué)主題、敘事技巧<

9、/p>　　和藝術(shù)觀點(diǎn) 等角度對這部作品進(jìn) 行了較為深入的研究，但鮮有人把此小說與巴赫　　金的狂歡化詩學(xué) 建立聯(lián)系。本論文嘗試運(yùn)用巴赫金的狂歡化詩學(xué)理論來分析《黑　　王子》中所體現(xiàn) 的狂歡化的敘事特征及其意義，旨在揭示

10、繼承和發(fā) 揚(yáng)十九世紀(jì)英　　國和俄國現(xiàn)實(shí)小說傳統(tǒng)來寫作的默多克是如何巧妙地運(yùn)用“狂歡”來編織小說的。　　本論文通過研究發(fā)現(xiàn)，《黑王子》中狂歡化因素體現(xiàn) 在狂歡化的框架、狂歡　　化的故事、狂歡化的象征和狂歡中的狂歡——互文性。運(yùn)用后現(xiàn)代的敘事技巧和

11、針對情節(jié) 設(shè)計(jì) 的偶然性，默多克使整部小說成為一場荒誕可笑的狂歡節(jié) 表演。狂　　化的象征如狂歡化廣場和小丑，以小說人物住宅展開的各處狂化節(jié) 廣場，充斥著　　形形色色的小丑，人們自由地接觸，也更清楚地看到自己和與他人的關(guān) 系。互文</p

12、>　　性也對構(gòu) 建故事內(nèi)在張力和鞏固狂歡的舞臺和氛圍做出了許多貢獻(xiàn) 。他們展示著　　更為真實(shí)的自我和與他人的關(guān)系的更真實(shí)面。　　在《黑王子》中，運(yùn)用狂歡化的結(jié)構(gòu)—加冕/脫冕的儀式，默多克完成了敘事　　的框架。狂歡節(jié) 的國王—主人公布拉

13、德利也是一個(gè) 罪與善交織的形象。讓關(guān)注取　　代臆想，通過實(shí) 現(xiàn)狂歡節(jié) 上交替更新的精神，默多克在這部小說中探討了她道德　　哲學(xué)的一個(gè)基本問題——一個(gè)自我中心者如何通過愛這個(gè)媒介完成向善歷程的。　　關(guān)鍵詞：艾里斯·默多克；《黑王子》；狂歡；加冕；脫冕

14、　　I　　M.A.Thesis of Chongqing University　　Abstract　　Abstract

15、;　　Iris Murdoch (1919-1999) is a prominent British novelist, art theorist and　　philosopher of international fame of the day, prolific in literary as well as philosophical　　writin

16、g. Both as a philosopher and a novelist, she likes to employ novel as a vehicle for　　presenting her philosophical thinking. Her novels are, in a way, fictional illustrations　　and

17、 artistic representations of some of her most essential philosophical ideas on the life　　experience and the nature of reality, such as fantasy, love, attention and goodness.　　Mur

18、doch pays special attention to modern people’ worldly seek to the concepts of love　　and goodness, and points out that in that process the most serious mental disease of　　modern p

19、eople is “fantasy” ; only under the guidance of the goodness and only by　　regarding other people as unique individuals and replacing fantasy with attention, can　　one recognize th

20、e truth.　　The novel The Black Prince, published in 1973, won the Black Memorial Prize of　　the year for Iris Murdoch, and also was considered as her masterpiece of her latter</

21、p>　　period. In Murdoch’s elaborate design, all the characters in the novel launch a　　subversive grand performance, and she places the whole story in a carnival type of<p&

22、gt;　　“second life of human beings” mode, deliberately breaks taboos and constr aints and　　undisguisedly exposes the hidden side of humanity and truth in daily life. Although the

23、　critics have interpreted its philosophical themes, narrative techniques and artistic　　viewpoints, few have ever proposed theoretical connections between The Black Prince　　and th

24、e poetics of carnival, and given any critical analysis in this line. The thesis　　attempts to interpret its narrative features and significance in light of Bakhtin ’s theory of　　c

25、arnivalization and aims to proclaim how Murdoch, the writer who inherits and carries　　forward the 19th century British and Russian realist novel tradition to write, skillfully　　u

26、se “carnival” to work out the novel.　　The thesis discovers that the carnival elements are embodied in the carnival　　framing, the carnival story, the carnival symbols and the carn

27、ival within carnival —　　intertextuality. Employed with postmodern narrative techniques and contingencies for　　designing the plots, Murdoch makes the whole novel a preposterous an

28、d absurd carnival　　performance. The carnival symbols such as the carnival squares and the carnival clowns:　　on the carnival squares which spreads out from the residences of chara

29、cters in the novel　　and filled with various clowns, people interact freely with each other, and see more　　II　　M.A.Thesis of Chongqing Univ

30、ersity　　Abstract　　clearly about themselves and their relationships with others. Intertextuality also　　contributes much to constitute the i

31、nternal tension the story and to consolidate the stage　　and atmosphere for the carnival. They open up a more genuine sense of themselves and　　of their relationship to another.<

32、;/p>　　In The Black Prince, with the use of the carnival structure —the crowning　　/decrowning ritual, Murdoch completes the main narrative framework. The carnival　　k

33、ing —the protagonist Bradley is also an image of both sides of guilt and good.　　Replaced fantasy with attention, by way of realization of the carnival spirit of renewal,　　Murdoch

34、 discusses an essential problem in her own moral philosophy —how an egoist ’s　　pilgrimage to Goodness through the medium of love in the novel.　　Key Words: Iris Murdoch; The Black

35、 Prince; Carnival; Decrowning; Crowning　　III　　M.A.Thesis of Chongqing University　　TABLE OF CONTENTS　　TABLE OF CONTENT

36、S　　中文摘要.......................................................................................................................................... I　　ABSTRACT ....................

37、.............................................................................................................II　　CHAPTER ONE INTRODUCTION .............................................................

38、.............. 1　　1.1 MURDOCH’S PHILOS OPHICAL THINKING AND ARTISTIC IDEAS .................... 2　　1.2 CRITICAL RESPONSES TO THE BLACK PRINCE ....................................

39、.................. 3　　CHAPTER TWO BAKHTIN’S THEORY OF CARNIVAL ......................... 7　　2.1 BAKHTIN’S THEORY ON CARNIVAL......................................................

40、..................... 7　　2.2 PRIMARY CARNIVAL ELEMENTS .............................................................................. 10　　CHAPTER THREE CARNIVAL ELEMENTS IN THE B

41、LACK　　PRINCE ........................................................................................................................................ 13　　3.1 THE CARNIVAL FRAMING

42、: THE LABYRINTHINE NARRATIVE........................ 13　　3.2 THE CARNIVAL STORY: FULL OF CONTINGENCIES............................................ 14　　3.3 THE CARNIVAL SYMBOLS IN

43、 THE BLACK PRINCE............................................... 16　　3.3.1 Carnival Squares ....................................................................................................... 16&

44、lt;/p>　　3.3.2 Carnival Clowns ....................................................................................................... 19　　3.4 CARNIVAL WITHIN CARNIVAL: INTERTEXTUALITY .

45、........................................ 22　　3.4.1 Hamlet: Subversion .................................................................................................. 23　　3.4.2

46、 Lolita: Degradation ................................................................................................... 24　　3.4.3 Der Rosenkavalier: Foreshadowing for Laughter.......................

47、.............................. 25　　CHAPTER FOUR BRADLEY ’S CARNIVALESQUE PIL GRIMAGE　　TO GOODNESS: FROM CROWNING TO DECROWNING .................. 28　　4.1 PRE

48、PARING FOR CROWNING: INFLATED SELF-ESTEEM ................................. 29　　4.2 CROWNING: ECSTASY IN LOVE................................................................................. 31</p

49、>　　4.3 DECROWNING: INSPIRATION TO GOODNESS....................................................... 32　　CHAPTER FIVE CONCLUSION............................................................

50、................... 35　　ACKNOWLEDGEMENTS ............................................................................................. 37　　REFERENCES ............................

51、............................................................................................ 38　　APPENDIX..............................................................................................

52、................................... 41　　IV　　M.A.Thesis of Chongqing University　　Chapter One Introduction　　Chapter One

53、 Introduction　　As a philosopher and novelist, Iris Murdoch (1919-1999) is one of the most　　prominent female writers of postwar British literature. She is the winner of the Black&

54、lt;/p>　　Memorial Prize for The Black Prince (1973), the Whitbread Literary Award for fiction　　for The Sacred and Profane Love Machine (1974), and the Booker McConnell Prize for

55、;　　The Sea, The Sea (1978). She has published twenty-six novels, a book of poetry, five　　plays, five philosophical books, and a book of essays and has been the most productive&

56、lt;p>　　British author since Charles Dickens. Harold Bloom (1986), in his introduction to Iris　　Murdoch remarks, “No other contemporary British novelist seems to me of Murdoch’s

57、;　　eminence…She… has the style of her age.” (p.79) Her major novels include: Under the　　Net (1954), The Unicorn (1963), The Red and the Green (1965), An Accidental Man　　(1971), T

58、he Black Prince (1973), The Sacred and Profane Love Machine (1974), The　　Sea, the Sea (1978), and The Message to the Planet (1989).　　“Be good, and love” (p.103) is what Taine (19

59、70) remarked of Dickens’ whole　　work might be reduced to. So might be Iris Murdoch’s work. Murdoch believes that she　　writes in the British and Russian realist tradition, and “he

60、r writing has been compared to　　that of George Eliot; however, she is also frequently compared to Fyodor Dostoyevsky,　　whose illustrations of the struggle between good and evil h

61、ave influenced her writing”.　　(Anouich, 1992, p.166) Declaimed herself as the follower of the great Russian and　　British novel tradition①, Iris Murdoch seek forging moral philoso

62、phy into the traditional　　realistic novel in this very belief-issue troubled time. Her works are always received　　with mixed criticism and remain controversial even today.</p&

63、gt;　　In all these works, The Black Prince was not only awarded the 1973 Black　　Memorial Prize, but also was acknowledged as the best novel in her latter literary career.<p&g

64、t;　　The story traces a shattering, maddening obsession on the part of the egocentric　　protagonist Bradley Pearson (the novel’s autobiographical narrator, a fifty -eight-year-　　ol

65、d author) for Julian Baffin, the twenty-year-old daughter of his protégéand best friend,　　Arnold Baffin. The obsession leads to changes little by little to Bradley, and in the end

66、　　brings him the ultimate light of goodness.　　①　　In receiving Indian journalist S.B. Segue’s interview, Iris Murdoch’s response to the question “Do

67、you follow a　　special tradition to write” was as following: “Yes, I do follow the British and Russian novels’ tradition to write. And I　　think that’s a great tradition, and shoul

68、d be universally acknowledged.” See “Interview with Iris Murdoch”,　　CONTEMPORARY FORETGN LITERATURE, 2002(3).　　1　　M.A.Thesis of Chongqing

69、University　　Chapter One Introduction　　1.1 Murdoch’s Philosophical Thinking and Artistic Ideas　　Murdoch’s uniqueness as a twentieth -century novelist-philosop

70、her is found from　　her first fiction Under the Net (1954) to her last one Jackson’s Dilemma (1995), and　　Murdoch turns to moral attention by exploring the quest of the passionate

71、 self for　　goodness in her every single novel. “It is rare to find someone who has excelled, as has　　Murdoch, both as a novelist and as a moral philosopher.”(Conradi, 1986, p .5)

72、 And also　　“it is difficult to consider Murdoch’s aesthetics without also address ing her interrelated　　moral philosophy ”. (Anouich, 1992, p.167)　　Iris Murd

73、och said in her Rencontres: “I am a teacher of philosophy and I am　　trained as a philosopher and I ‘do’ philosophy and I teach philosophy.” (qtd. from　　Conradi, 1986, p.1) When s

74、he began to devote to writing her novels, she had already　　been a mature thinker. She is a thoughtful novelist, while also a philosopher who　　ventures to bring philosophic discus

75、sion into her novels. Her writing career is a　　correlation of philosophical ideas and artistic techniques. Thus it is both impossible and　　inadequate to appreciate her novel with

76、out a brief survey on her philosophical thinking　　and artistic ideas.　　Murdoch was initially attracted to Jean- Paul Sartre’s existentialism (she had met　　Sa

77、rtre briefly in 1945) and took existentialism as a philosophy that one could actually　　live by and also as a philosophy that conditions individual consciousness to　　philosophical

78、 surveillance. Till the turning of the 19th century to the 20th, the public　　phenomenon —the traditional religious beliefs, which insisted on the reality of ultimate　　goodness an

79、d the sanctity of individual life, have lost currency in contemporary life, had　　reached an unprecedented height when Nietzsche declared “death of God”. As a　　philosopher, Iris M

80、urdoch was consistently preoccupied with morality, and she regarded　　it as responsibility for moral philosophy to answer for the loss of religious conviction.　　Distrust in existe

81、ntialists’ romantic, solipsistic and anti -social exaltation of the　　individual , Murdoch turned to appropriate the term “attention” from Simone Weil, a　　French philosopher of th

82、e 1930s and 1940s who exerted a strong influence on her.　　Attention is a word used by Simone Weil to describe “the constantly renewed attempt to　　see things, objects, people, mor

83、al situation, truly as they are, uncolored by our own　　personal fantasies or needs for consolation.” (qtd. from Byatt, 1994, p.299) In　　Murdochian sense, the concept of attention

84、 is closely related to the concept of good or　　goodness. She mak es Plato’s philosophy of ideal goodness opportunely and　　comprehensible to general readers, articulating a view o

85、f human life as love’s labor in　　2　　M.A.Thesis of Chongqing University　　Chapter One Introduction　　journeying from ill

86、usion to truth.　　In order to achieve her fusion of artistic ideas and moral philosophy, Murdoch has　　“discovered how best to blend those elements of passionate thought, cool (eve

87、n comic)　　observation and narrative surprise which had been present in her novels since the early　　1950s” . (qtd. from Elsom, 1985, p.25) As a realist, she always writes a highly

88、 readable　　novel, with a strong, gripping narrative and vivid and convincing characters. But at the　　heart of her stories there is always a moral problem.　　A

89、s Murdoch states in her famous essay “Against Dryness”, “Literature must　　always represent now is a much stronger and more a battle between real people and　　images; and what it r

90、equires complex conception of the former.” ( 1997, p.295) In the　　novels of Iris Murdoch, people are secretly less rational, much odder, more often driven　　by obsessive idea and

91、then they apparently pretend or know. To put it in another way,　　those people enter into a life drawn out of its usual rut, they are not normally functioned　　as usual days; it is

92、 to some extent life turns inside out, and manifests itself in the reverse　　side of the world.　　Murdoch (1997) thinks “a novel must be a house for free character to live in; and&

93、lt;/p>　　to combine form with a respect for reality with all its odd contingent ways is the highest　　art of prose.” (p.286) This kind of Murdoch’s house with time -and-space structure is

94、　　built through two kinds of means: one is to weave labyrinthine characters relations, the　　other is to construct labyrinthine novelistic space; and the two are always presented

95、in　　an open and ever-developing state. Reality, she believes, is fragmented and often　　inexplicable, and the role of art is to mirror this incompleteness. She reflects in “The<

96、;/p>　　Sublime and the Beautiful Revisited” that novel is “whatever is contingent, messy,　　boundless, infinitely particular, and endlessly still to be explaine d” (Murdoch, 1997,</p&g

97、t;　　p.261). It is under this artistic guideline, Murdoch’s novels present an unfinished style,　　which is consistent with Mikhail Bakhtin’s interpretation of “carnival”. Bakhtin (1984)</

98、p>　　said in his work Rabelais and His World that, “Carnival wa s the true feast of time, the　　feast of becoming, change, and renewal. It was hostile to all that was immortalized and<

99、/p>　　completed ”. (p.7) For Murdoch, the ideal novel keeps the tension between the narrative　　“form” and the “contingency” of the content, and represents the characters’<

100、p>　　contingenciness and particularities.　　1.2 Critical Responses to The Black Prince　　Published in 1973, The Black Prince is an extraordinary achievement; it’s<

101、p>　　3　　M.A.Thesis of Chongqing University　　Chapter One Introduction　　considered as the most popular one in Murdoch’s latter novels, but

102、 at the s ame time the　　most obscure one. Since its publication, this novel has been interpreted from multiple　　perspectives, which can roughly be classified into three categorie

103、s:　　One deals with the themes of the novel based on Murdoch’s own philosophical　　thinking. I n the essay “Iris Murdoch’s The Black Prince: Overthrowing the Tyrant and

104、　　Inscribing the Feminine”, Douglas Brooks -Davies (1989) argues that the novel repeats　　Murdoch’s inherent theme of her work—criticism on self-centeredness, by probing into<p

105、>　　the thematic importance and organizational influence of the embedded plot throughout　　the novel —Shakespeare’s Hamlet. I n his essay “Chapter 12: A Fairly Honourable　　Defea

106、t, An Accidental Man, and The Black Prince”, Frank Baldanza (1974) indicates　　that The Black Prince “bears a vague resemblance to Nabokov’s Lolita in its general　　material, the t

107、echnique may also be said to parallel that masterwork in that the entire　　novel is narrated by the obsessed seducer, and the reader feels an ambivalent attraction　　and repulsion

108、towa rd Bradley” (p .141), and reveals the Murdoch’s philosophical theme　　on love that “l(fā)ove opens Bradley’s eyes, it gives him motive power and vision at an age　　when he already

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從加冕到脫冕——論《黑王子》狂歡化敘事特征

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