三毛作品及三毛形象分析

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1、目录引言···························································································································1一、走进“万水千山”的世界——导论·······························································21、三毛作品研究现状········································································

2、···············22、形象学视野下三毛作品中的异国形象························································3二、“意识形态”与“乌托邦”之游移·································································41、“三毛热”：从“意识形态”形象到“乌托邦”形象······························52、“三毛神话”：从“乌托邦”形象到“意识形态”形象···························8三、“自我”与“

3、他者”之互动——故事和生活创造“笔”···························111、言说自我：注视者——“空间凸显”····················································122、言说他者：被注视者——“希声有象”················································143、“自我”与“他者”的互动性：注视的受制因素······································15四、双重形象之立体显现······························

4、·······················································171、艺术创作：“修辞”与“模拟”的冲突····················································172、心灵历程：“流浪”与“红尘”的矛盾····················································193、文化语境：“精英意识”与“大众文化”的冲撞······································21五、“异国”与“他者”之歌咏——三毛作品之文学接受·

5、·······························231、审美阅读：一种“求异”文体的胜利······················································242、审美主体：在“生命童话”中寻求“他者”········································27余论························································································································

6、·30主要参考书目·········································································································31一、文学资料·········································································································31二、理论参考书························································

7、·············································32三、背景及期刊资料·····························································································33三毛作品及三毛形象分析(中文系2001级比较文学与世界文学专业导师：犹家仲副教授研究生：李琪)中文提要文学艺术离不开形象，艺术的力量在于形象的力量。形象研究是文学研究的重要内容，比较文学形象