哥特小说特点Word格式.doc

1、布朗承袭了英、德小说中的哥特传统,在两年内写出了四部美国哥特式小说,由此奠定了美国小说中的“哥特传统”。200多年来,哥特传统一直陪伴着美国小说成长的每个阶段,并在美国文学发展的不同时期经历着不同的变化;虽有起有落,有高潮有低谷,其整体发展态势是螺旋式上升的,美国小说中的哥特传统在21世纪的今天依旧绽放着奇光异彩。 本论文试从对哥特传统的追踪溯源开始,以纵、横双向展开研究;纵向以时间为坐标并将研究分成四个不同的时期（美国建国初期、黑色浪漫主义时期、南方文艺复兴时期以及二战后的美国当代）,分别描述哥特传统形成、上升、繁荣、鼎盛等发展和演变的轨迹;横向以不同时期的代表作家为研究对象,研究他们在不同

2、的文学视野下是如何继承、发展并丰富了美国小说中的这一传统的,这些作家包括美国哥特小说之父查尔斯布朗,美国黑色浪漫主义大师艾德加爱伦坡、纳撒尼尔霍桑,南方哥特代言人威廉福克纳、弗兰纳里奥康纳,美国当代恐怖大师史蒂芬金、安妮赖斯等;纵横双向并行,由点及面地铺开,立体地绘制了哥特传统自1798年至今两个多世纪以来在美国小说中嬗变的轨迹。2.3 The characteristics of the gothic novelGothic fiction originally arose in England in the late 18th and early 19th century. It soon

3、 spread to other parts of the world, especially the United States, where it influenced the writing of many authors such as Nathaniel Hawthorne and Edgar Allan Poe. It falls in the realm of Romantic literature, although it often explores darker and more tragic themes than other Romantic works of the

4、period. It is distinguished by a number of very specific qualities.2.3.1 Setting背景Gothic literature often is set in old, rundown structures: especially castles or great country manors. The building usually features hidden passages, trap doors, dungeons or secret rooms, and has suffered a decline fro

5、m its former greatness.The environment around the setting reflects a bleak or foreboding atmosphere: dark forests, imposing mountains, stormy weather or areas far away from civilisation.2.3.3 Atmosphere and emotions气氛环境Gothic literature stresses an atmosphere of mystery, horror and dread. The plot i

6、nvolves hidden secrets which threaten the protagonist. Emotions run high in Gothic literature. Characters are often passionate and strong-willed, defying others or even their own common sense in pursuit of their goals. Women are often curious and have a tendency to swoon, while men storm and rage in

7、 reflection of unseen inner torments.2.3.4 Protagonists主角The protagonists of Gothic literature are isolated or alone. That isolation could be physical （trapped in a house far from civilisation） or emotional （cut off from the people around her）, and may either be self-imposed or a result of circumsta

8、nces beyond her control.The damsel in distress motif appears quite often in Gothic literature, with women threatened by tyrannical men or just the circumstances in which they find themselves. They often appear frightened and may suffer from some kind of ailment.2.3.8 The Supernatural超自然The supernatu

9、ral often appears in Gothic literature, particularly ghosts and unexplained manifestations. In some Gothic novels, these elements ultimately have a rational explanation, but the implication always suggest something not of this world. Ominous implications precede dark events in Gothic literature. Unl

10、ucky omens appear, ancient curses linger in the air, and dark forces beyond the heros ken thwart his ambitions.2.3.10 Drama情节The events in Gothic literature emphasise high emotion and often reflect a heightened sense of drama. Examples include murders, kidnappings, people going mad and tragic illnes

11、ses.The overall impression of a Gothic world is one of decay: a formerly great family, community, country or individual who has peaked and now begins a slow process of decline. This appears both in the landscape （crumbling buildings） and in the characters themselves.2.3 哥特小说的特点哥特小说大部分都被列入恐怖文学及魔幻小说的行

12、列，其内容以死亡、神鬼、推理、血案、幽灵等为主，有着浓厚的恐怖色彩。哥特式文学，对于黑暗压抑，死亡美学，宗教情结以及唯美主义，有着一种天生的近乎偏执的极致追求，他总是表现出一种孤僻疏离，阴沉的精神气质。早期哥特式写作手法表现为：1） 小说的背景故事一般发生在荒僻地带,背景建筑往往是带有地下室、底下通道、阁楼、迷宫般的长廊和旋转的楼梯的城堡或庄园; 故事的转折常伴随极端天气、月光或摇曳的烛光2）故事情节哥特小说着力描写的就是各种恐怖与怪诞的场景与情节。故事情节会充满悬念，恐怖刺激,有时涉及衰败和死亡，有时甚至会有暴力或性, 充斥着凶杀、暴力、复仇、强奸、乱伦等。这些场景与情节给读者留下深刻的印象

13、。怪诞与恐怖是哥特小说的一种特质。在哥特小说中, 恐怖是其主色调, 贯穿于小说始终。通过对暴力、凶杀、非常环境的描写, 以及夜晚非常时间的选择, 哥特小说对恐怖的制造是由始至终的。3） 主题哥特小说具有因果报应、爱情及复仇三大主题。在因果报应这一主题上, 其创作与宗教有着密切的联系,对因果报应的描写目的在于对惩恶扬善这一思想精神的体现。爱情主题的哥特小说通常为美丽善良的女主角在追求者之间举棋不定。而复仇主题故事内容常涉及家族秘密。4）人物形象在哥特小说中, 存在着四种人物形象: 英雄、教徒、不幸女子、鬼怪等超自然现象。人物形象既有正、邪人物, 又有亦正亦邪的形象，人物形象较为丰富,。在英雄形象

14、的塑造上, 用专横残暴、冷酷无情、为达目的不择手段来塑造这一形象。哥特小说独创了“恶棍英雄”这一形象。恶棍英雄“既引诱别人又自遭苦难, 既迷人又邪恶”, 具有两面性。在教徒形象的塑造上, 哥特小说与宗教密不可分。哥特小说中的教徒形象承载着“反教功能, 寓意着恶”。在不幸女子这一形象的塑造上, 哥特小说着力描写了两种不幸：（1）出身贫寒，性格倔强不屈, 具有反抗精神，经历不幸，个人的权利、尊严得不到保障, 饱经痛苦或磨难;（2）出身富裕，性情柔顺，无法决定自己的命运或因争夺财产继承权而成为受害者在鬼怪形象塑造上, 鬼怪与人处于对立状态, 界限分明。鬼怪常常被哥特小说用来揭示人性的丑陋与邪恶, 但其并不是哥特小说的主要描写对象。其功能是为了有力地表现惩恶扬善的思想精神与因果报应观念, 这一形象的塑造都反映了社会与人生, 对人所面临的生存困境进行揭示, 因而“具有审美价值上的共通性”。总而言之这类题材文学或是影视作品常会给人阴暗和恐惧的感觉。用充满悬念的情节和神秘恐怖的环境营造出戏剧化的艺术效果，刺激人们的感官，带给人快感。故事真相往往都隐藏在那些看似充满浪漫色彩的故事情节里或神秘而恐怖的气氛中。