论叙述语式

发布时间：2018-04-08 23:27

本文选题：叙述语式　切入点：故事　出处：《河北师范大学》2007年硕士论文

【摘要】： 小说作为一门叙述的艺术,讲究的是叙述的技巧与方式,这直接关系到作品的审美意蕴与价值体现。同样的素材、同样的主题,采用不同的叙述方式会产生截然不同的艺术效果。从叙述学角度来看,叙述距离的远近和叙述视角(或称聚焦模式)的转换起着调节叙述信息的作用。距离和视角被热奈特(G. Genette)比喻性地借用“语式”这一语言学术语加以定名,成为叙述话语分析中的一个重要范畴。本文以“叙述语式”为研究对象,围绕距离和视角,以热奈特的叙述话语理论为基础,结合不同时期各国学者对同一问题的不同看法,通过对经典文本的话语分析,力求更加深入地理解叙事作品的叙述方式。全文共分三部分: 第一章概述,分析了“故事”与“话语”的关系,在此基础上对“语式”作了理论上的界定。“语式”指的是对叙述信息的调节和把握,分为距离和视角两种形态,表示的是故事与话语之间的多种关系。第二章叙述距离,指叙述信息数量的控制和模仿程度,分为事件叙事和话语叙事。讲述与展示作为两种修辞技巧在事件叙事中发挥着重要作用,历史上的诸多学者对此都有过阐释。高度的展示与纯粹的讲述往往难分难解,二者可以熔于一炉。话语叙事具体分为三种类型:“叙述化”话语或讲述话语、转换话语和“模仿”话语。第三章叙述视角,指作品中叙述者与被叙述的事件之间的关系。明确“感知者”与“叙述者”的界限是分析视角问题的前提;在对视角的诸多分类中存在许多混乱,本文引用并分析了学者申丹对这一问题的澄清与解释,力图对其有所推进;在叙述实践中,不同聚焦方式的同时运用能使作品产生不同的叙述效果。叙述距离的远近为小说营构了一个真幻迥异的艺术空间,而叙述视角的不确定性导致了对文本的多种阐释。只有对这一问题先行了解,才有可能实现对可能的有效写作技巧的实验与尝试,并深化对小说表达方式与审美特征的认识,提高欣赏和评论小说艺术的水平。
[Abstract]:As an art of narration, fiction stresses the techniques and methods of narration, which is directly related to the aesthetic implication and value of the works.The same material, the same theme, different narrative methods will produce very different artistic effects.From the perspective of narratology, the distance between narration and the transformation of narrative perspective (or focus mode) play an important role in regulating narrative information.Distance and perspective are metaphorically named by Genette as an important category in narrative discourse analysis.This paper takes narratology as the object of study, revolves around the distance and the angle of view, based on Genett's narrative discourse theory, and combines the different views of scholars from different countries on the same issue in different periods, through the discourse analysis of the classical texts.Try to understand more deeply the narrative way of narrative works.The full text is divided into three parts:The first chapter summarizes the relationship between Story and discourse, and then gives a theoretical definition of "style"."language" refers to the adjustment and grasp of narrative information, which is divided into two forms: distance and visual angle.The second chapter narrates the distance, refers to the narrative information quantity control and the imitation degree, divides into the event narration and the discourse narration.As two rhetorical techniques, narration and presentation play an important role in event narration, which has been explained by many scholars in history.High display and pure narration are often difficult to separate, they can melt in one furnace.Discourse narration can be divided into three types: narrating or narrating discourse, transforming discourse and imitating utterance.The third chapter refers to the relationship between narrator and narrated event.The definition of the boundary between "perceptor" and "narrator" is the premise of analyzing the problem of visual angle, and there is a lot of confusion in the classification of visual angle. This paper cites and analyzes the clarification and explanation of this problem by Schengdan, and tries to push it forward.In the practice of narration, different focusing methods can produce different narrative effects.The distance of narration constructs a different artistic space for the novel, and the uncertainty of narrative angle leads to a variety of interpretations of the text.Only by understanding this problem first, it is possible to carry out experiments and attempts on possible effective writing techniques, deepen the understanding of the expression mode and aesthetic characteristics of novels, and improve the level of appreciation and criticism of novel art.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I054

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