摘要：近些年，随着中国经济社会的迅速发展，使得后现代现象已经逐步成为文化领域不可避免的事实。与此同时，越来越多的后现代理论被学者们介绍到国内。本论文以加拿大籍着名的后现代文艺理论家琳达·哈琴的戏仿理论作为钻研的课题。哈琴作为在西方后现代主义研究领域的女性理论家之一，通过对理论与审美实践的独到解剖和透视，在一定程度上得到了学术界的关注和肯定，也让人们对后现代主义有了更新更清晰的认识。
在琳达·哈琴纷繁复杂的学术思想体系中，戏仿是她用来解释后现代主义现象的关键词之一。戏仿建立在反讽的基础上，却又与反讽不同，比反讽更复杂。
戏仿有包孕意识形态在其中的特点，只有深谙同样的意识形态的读者和观众，才有可能解读出戏仿作品的真实含义。哈琴认为，不同于传统所认为的戏仿者对原作采取戏谑的态度，她认为二十世纪的戏仿更多地是表达对原作的敬意。本文将着重对哈琴的《戏仿理论》一书进行解读和总结。
全文共分六章：第一章绪论，概述选题缘由及意义、国内外研究状况及论文的研究方法。第二章主要通过梳理在哈琴之前的戏仿理论发展脉络，和阐述了琳达·哈琴的后现代诗学理论的兴起背景及其突破。第三章，对琳达·哈琴的后现代戏仿理论内容之--《戏仿理论》这一文本进行总结和评介。第四章，对琳达·哈琴其他着作中的戏仿散论进行厘清和评介。第五章，将戏仿与类似概念进行了对比辨析并简析了后现代戏仿的特征。第六章，结语部分简要论述哈琴后现代戏仿理论的现实意义。
总之，琳达·哈琴的理论大都直接源于对后现代艺术创作的密切观察和分析，而非肤浅的武断，在理论联系实践方面为我们树立了很好的榜样。后现代主义在继承传统的同时，使用戏仿等手法对传统进行适度挪用和改变，从而在现实社会环境中对其进行巧妙的传承和隐晦的批评。因此，琳达·哈琴的后现代戏仿理论对于剖析当今中国的各种戏仿现象，提供了理论武器。
关键词：琳达·哈琴 后现代主义 戏仿 双重编码
Abstract: In recent years, with the rapid development of China's economic andsocial, the post-modern phenomenon has gradually become the inevitable cultural field.
at the same time, In this paper, the famous Canadian postmodern literary theorist LindaHutcheon's parody theory became research object. As one of the female theorists ofpostmodernism, her research penetrate former theory and aesthetic practice with uniqueanatomy and perspective, to a certain extent, she has gained academic attention andrecognition, and let people understand postmodernism more sharply.
In Linda Hutcheon's complicated system of academic thought, parody was one ofthe keywords which she used to explain the phenomenon of postmodernism. Parodywas built on the basement of irony, but different with irony, and more complex thanirony. Parody has conceived ideology in itself, only readers and viewers who have thesame ideology could interpret the true meaning of a perodic production. Unlike thetraditional attitude that a perodic production was teasing the original production, shethought in the twentieth century is a perodic production was admiring and respecting theoriginal production. This paper will focus on the Linda Hutcheon's A Theory of Parody,interpret and summarize the content of it.
The full text was divided into six chapters: the first chapter as introductionsummarized the causes of this issue and its significance, domestic and foreign researchstatus, research methods. The second chapter combed through parody theorydevelopment before Linda Hutcheon, and expounded the background of the rising ofLinda Hutcheon's postmodernism theory and its breakthrough. The third chaptersummarized and reviewed the content of Linda Hutcheon's A Theory of Parody. Thefourth chapter, examined Linda Hutcheon's other writings wherein parody wasdiscussed. The fifth chapter discussed Chinese parody phenomenon, and chose aexample to analyze in Linda Hutcheon's way. As a conclusion, The sixth chapter brieflydiscussed the practical meaning of Linda Hutcheon's parody theory.
Overall, Linda Hutcheon's parody theory most directly derived from closeobservation and analysis of the postmodern art, rather than superficial judgment, it set agood example to mingle theory and practice. While inheriting the tradition,postmodernism is utilizing parody and other approaches to moderate and changetradition appropriately, then, it cleverly heritage and criticize the tradition in the realsocial environment. Linda Hutcheon's parody theory provides a theoretical weapon toanalysis Chinese various parody phenomenons.
Key Words: Linda Hutcheon postmodernism parody doubly-coded
目 次
摘要
ABSTRACT
目 次
1 绪论
1.1 选题缘起及意义
1.1.1 琳达·哈琴学术背景介绍
1.1.2 选题意义
1.2 国内外研究现状概况
1.2.1 国外研究现状
1.2.2 国内研究现状
1.3 研究方法
1.3.1 文本细读
2 琳达·哈琴的后现代戏仿理论产生的背景
2.1 琳达·哈琴之前的戏仿理论概述
2.2 琳达·哈琴的后现代诗学理论的兴起
2.3 琳达·哈琴后现代诗学理论的突破
3 琳达·哈琴的后现代戏仿概念辨析与特征
3.1 后现代戏仿与类似概念之区别
3.1.1 模仿
3.1.2 拼贴
3.2 后现代戏仿之特征
3.2.1 戏仿的悬置性
3.2.2 戏仿的拓殖性
4 琳达·哈琴的后现代戏仿理论内容之一：对《戏仿理论》文本的分析
4.1《戏仿理论》概述
4.2《戏仿理论》之《导言》
4.3《戏仿理论》之《定义戏仿》
4.4《戏仿理论》之《戏仿实用主义的多样性》
4.5《戏仿理论》之《戏仿的悖论》
4.6《戏仿理论》之《编码与解码》
4.7《戏仿理论》之《结论：世界、戏仿文本和戏仿理论家》
5 琳达·哈琴的后现代戏仿理论内容之二：其他着作中的戏仿散论
5.1《自恋叙事--元小说的悖论》：“元小说的戏仿”
5.2《后现代主义诗学：历史、理论和小说》：“戏仿：暧昧的抵抗”
5.3《后现代主义的政治》：“戏仿的政治意蕴”
5.4《反讽的锋芒--反讽的理论与政见》：“反讽的政治意蕴”
5.5《改编理论》：“改编与戏仿”
结语
