臺灣博碩士論文加值系統

肯尼斯‧葛蘭的柳林風聲長期以來不但被視為兒童文學系列之一，而且廣泛的為成人及小孩閱讀。本論文運用巴克定的理論，探討本書為何被歸納在兒童文學中，並且闡述「寓言」文體對兒童的影響。巴克定以語言思想(Verbal-ideological)上向心力及離心力的交錯描述，來展現出小說「多聲」的對話張力。對照巴克定的理論，柳林風聲這部藝術性的小說作品，不僅是兒童文學「多聲」的代表作，書中並把傳統田園及寓言的「向心引力」(Centripetal force)和兒童冒險的「離心引力」(Centrifugalforce)明顯刻劃出來。換句話說，在葛蘭的柳林風聲中，雖然田園及寓言這兩種文體各帶著寓言體的隱意，此兩種文體亦代表著成人世界傳統文學和文體詮釋被童聲分散。
本論文的第一章是介紹所應用的理論。第二章運用巴克定向心及離心理論，透過文本中離家及回家的結構分析，討論英國維多利亞時代「離家游移」(Mobility)及「居家安穩」(Domesticity)的概念。第三章探討柳林風聲中的田園寓言及動物寓言問題，亦即這是一部弦外之音的寓言體，亦或是一部冒險文體的兒童文學。第四章呈現本書的獨特之處並非在於其模糊不清的田園寓言或動物寓言文體，而是在於具有「多聲」特質的冒險故事文體。第五章總結柳林風聲不只是一部「多重聲音」的文本，而多聲的張力甚至增強了寓言文體中純真童聲的展現。此童聲的展現確立了本書為一本兒童讀物的價值，所以，我們得以從不同的角度來閱讀及詮釋這本兒童書。

Kenneth Grahame’s The Wind in the Willows not only has long been regarded as a part of the canon of children''s classics, but also has been widely read by children and adults. This thesis will ask why the book has been claimed to be part of the canon of children’s classics and address the problem of allegorical genre in a book for children through an analysis based on the theory of Mikhail Bakhtin. Bakhtin explores the idea of “heteroglossia” through which the dialogical opposition of verbal-ideological centripetal and centrifugal forces are working at the same time in the novel. From Bakhtin’s concept of heteroglossia, an artistic work like The Wind in the Willows not only shows the representation of multi-voices concealed within this children’s book, but also shows the representation of the dialogical tension between the centripetal force of the traditional pastoral and the fable as opposed to the centrifugal force of the adventuring child voice in The Wind in the Willows. That is, although the pastoral and the fable are shown to have oppositional forces within them in the allegorical doubling of voices as used in Grahame’s novel, they represent the traditional literature and literary interpretation of the educated adult to be decentered by the child voice.
In Chapter One, I introduce the theories I use in this thesis. In Chapter Two, I discuss the subjects of Mobility and Domesticity in Victorian England through an analysis of the structure of the process of leaving and returning home using Bakhtin’s concept of centripetal and centrifugal forces. In Chapter Three, I explore the problem of the pastoral allegory and the fable allegory in The Wind in the Willows, which brings up one question from the main thesis: is this work a pastoral and fable allegory with such a double meaning or an adventure for children’s literature? Thus, with the doubling of voice of the pastoral and the fable, this book retains an ambiguous position as a children’s book. In Chapter Four, I discover that the uniqueness of Grahame’s The Wind in the Willows as a child’s book depends not upon ambiguous meaning of the pastoral and fable but the adventure story with its own heteroglossic features. Ultimately, in my conclusion, I explain how The Wind in the Willows not only offers the readers a text concealing multi-voices, but also shows how the dialogical tension even strengthens the innocence of the child voice amid the pastoral and the fable double voices. Therefore, we can read and interpret this child’s book from different perspectives, but it is the emergence of the child voice that makes the work a children’s book.

CHAPTER ONE: INTRODUCTION...............................1
CHAPTER TWO: THE REPRESENTATION OF MOBILITY AND
DOMESTICITY...............................15
The Background of the Victorian Society and
Domesticity ..............................18
The Representation of Mobility............20
The Representation of Domesticity ........28
CHAPTER THREE:THE REPRESENTATION IN PASTORAL AND FABLE
ALLEGORICAL DOUBLE VOICES ................41
Pastoral Allegorical Interpretation ......45
Fable Allegorical Interpretation..........59
Allegory Problem in Children’s
Literature................................65
CHPATER FOUR: THE REPRESENTATION OF THE CHILD VOICE.....69
The Portrait of the Child from the Earlier
Period to the Victorian Age..............70
The Portrait of the Rebellious
Child.....................................76
The Child’s Adventure Story..............83
CHPATER FIVE: CONCLUSION..............................89

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