德莱塞自然主义文学的叙事艺术
发布时间：2018-11-13 12:44
【摘要】：作为美国自然主义文学的勇敢开拓者，西奥多·德莱塞的自然主义文学呈现出与传统文学截然不同的神采风貌，这既源于作家本人的开创精神，又源于作家对自然主义文学创作技巧的自觉吸收。自然主义文学奉“真实感”为最高原则，包括外部的客观“真实”和内在的主观“真实”。本文旨在从“真实”的角度探索德莱塞自然主义文学的叙事艺术，主要从叙事话语、叙事结构和叙述视点三个方面进行分析。 一、独特的叙事话语。德莱塞自然主义文学独特的叙事话语主要体现为“非个人化”叙事，即通过运用“非个人化”的叙事技巧和自由间接引语保持作家叙事态度上的客观中立，从而实现作品在整体上的“真实感”。这种叙事话语打破了传统小说过分表露作者本人情感态度的倾向，使作品呈现出客观冷静的风格。德莱塞的“非个人化”叙事从两个方面实现：一是将叙述视角转换，叙事主体隐匿起来，通过调整叙述人与作品人物之间的距离加强小说的客观性和真实感，此时叙述人非常隐蔽，可感知度很小；二是大量使用自由间接引语，将人物话语和叙述人话语紧密结合，叙述人在故事的发展进程中并未直接“现身”，而是隐藏其后，读者找不到叙述人“在场”的痕迹。 二、叙事的“空间性”结构。德莱塞在叙事结构上采用“空间性结构”叙事，摒弃传统小说中封闭完整的“线性结构”，使传统小说中的线性物理时间碎裂成为无数“偶然”的瞬间，随之而来的细节之缤纷绽放进一步营造了小说细微之处的“真实”。这种空间主要表现为一种“情境性空间”，即生活情境。生活的横断面如绘画般铺展开来，，如此设置带来的是饱含生活气息的细节绽放，必然性被层出不穷的偶然性取代，生命的本真状态在文本中客观地展现出来。 三、叙述视点的“向内转”。德莱塞从生理和心理两个方面描写“生物的人”，人是本能的载体、遗传的产儿、环境的奴隶，表现出一种“类型化”的特征，即源于生理-心理的富有激情的“气质类型”。人物类型又分为两种：一种是“人虫”，如赫斯特伍德、克莱德·格里菲斯，他们是个人欲望的牺牲品；另一种是“人兽”，如柯帕乌、嘉莉妹妹、尤金·威特拉，他们是所向无敌的超人。建立在生理分析之上的心理分析使人物的两种“气质”类型真实可感，隐藏于外在客观真实之下的内在真实通过叙述视点的“内转”也得以实现。
[Abstract]:As a brave pioneer of American naturalistic literature, Theodore Dreiser's naturalistic literature presents a very different look from the traditional literature, which originates from the writer's own pioneering spirit. It also stems from the writer's conscious absorption of naturalistic literary creation techniques. Naturalistic literature regards "sense of truth" as the supreme principle, including external objective "reality" and internal subjective "truth". The purpose of this paper is to explore the narrative art of Dreiser's naturalistic literature from the perspective of "reality", mainly from three aspects: narrative discourse, narrative structure and narrative viewpoint. First, the unique narrative discourse. The unique narrative discourse of Dreiser's naturalistic literature is mainly embodied in "impersonal" narrative, that is, through the use of "impersonal" narrative techniques and free indirect quotations to maintain the writer's objective and neutral narrative attitude. In order to achieve the work in the overall "sense of reality." This kind of narrative discourse breaks the tendency of the traditional novel to reveal the author's emotional attitude and makes the novel present an objective and calm style. Dreiser's "impersonal" narration is realized from two aspects: first, the narrative angle of view is changed, the narrative subject is hidden, and the objectivity and realism of the novel are strengthened by adjusting the distance between the narrator and the characters in the works. At this time the narrator is very covert and perceptible; Secondly, a large number of free indirect quotations are used to combine the characters' discourse with the narrator's utterance. The narrator does not "appear" directly in the development of the story, but hides behind it, and the reader can not find the trace of the narrator's "presence". Second, the "spatial" structure of narration. In the narrative structure, Dreiser adopts the "spatial structure" and abandons the closed and complete "linear structure" in the traditional novels, which makes the linear physical time in the traditional novels break up into countless "accidental" moments. The subsequent riotous blooming of details further creates the "truth" of the nuances of the novel. This kind of space is mainly expressed as a kind of "situational space", that is, life situation. The cross section of life is spread out like a painting, which brings the details full of life breath blooming, inevitability is replaced by endless contingency, and the true state of life is objectively displayed in the text. Third, narrate the viewpoint of "turn inward". Dreiser describes "biological man" from two aspects of physiology and psychology. Man is the carrier of instinct, the hereditary infant and the slave of environment, showing a kind of "type" characteristic, that is, the passionate "temperament type" which originates from physiology and psychology. There are two types of characters: one is the "human worms", such as Hurstwood, Clyde Griffith, they are the victim of personal desire; The other, Cowperwood, Sister Carrie, Eugene Weitra, is an invincible superman. The psychological analysis based on physiological analysis makes the two types of "temperament" of the characters realistic, and the inner reality hidden under the external objective reality is realized through the "inner turn" of the narration point of view.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.06
本文编号：2329139
[Abstract]:As a brave pioneer of American naturalistic literature, Theodore Dreiser's naturalistic literature presents a very different look from the traditional literature, which originates from the writer's own pioneering spirit. It also stems from the writer's conscious absorption of naturalistic literary creation techniques. Naturalistic literature regards "sense of truth" as the supreme principle, including external objective "reality" and internal subjective "truth". The purpose of this paper is to explore the narrative art of Dreiser's naturalistic literature from the perspective of "reality", mainly from three aspects: narrative discourse, narrative structure and narrative viewpoint. First, the unique narrative discourse. The unique narrative discourse of Dreiser's naturalistic literature is mainly embodied in "impersonal" narrative, that is, through the use of "impersonal" narrative techniques and free indirect quotations to maintain the writer's objective and neutral narrative attitude. In order to achieve the work in the overall "sense of reality." This kind of narrative discourse breaks the tendency of the traditional novel to reveal the author's emotional attitude and makes the novel present an objective and calm style. Dreiser's "impersonal" narration is realized from two aspects: first, the narrative angle of view is changed, the narrative subject is hidden, and the objectivity and realism of the novel are strengthened by adjusting the distance between the narrator and the characters in the works. At this time the narrator is very covert and perceptible; Secondly, a large number of free indirect quotations are used to combine the characters' discourse with the narrator's utterance. The narrator does not "appear" directly in the development of the story, but hides behind it, and the reader can not find the trace of the narrator's "presence". Second, the "spatial" structure of narration. In the narrative structure, Dreiser adopts the "spatial structure" and abandons the closed and complete "linear structure" in the traditional novels, which makes the linear physical time in the traditional novels break up into countless "accidental" moments. The subsequent riotous blooming of details further creates the "truth" of the nuances of the novel. This kind of space is mainly expressed as a kind of "situational space", that is, life situation. The cross section of life is spread out like a painting, which brings the details full of life breath blooming, inevitability is replaced by endless contingency, and the true state of life is objectively displayed in the text. Third, narrate the viewpoint of "turn inward". Dreiser describes "biological man" from two aspects of physiology and psychology. Man is the carrier of instinct, the hereditary infant and the slave of environment, showing a kind of "type" characteristic, that is, the passionate "temperament type" which originates from physiology and psychology. There are two types of characters: one is the "human worms", such as Hurstwood, Clyde Griffith, they are the victim of personal desire; The other, Cowperwood, Sister Carrie, Eugene Weitra, is an invincible superman. The psychological analysis based on physiological analysis makes the two types of "temperament" of the characters realistic, and the inner reality hidden under the external objective reality is realized through the "inner turn" of the narration point of view.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.06
【参考文献】
相关期刊论文 前7条
1 陈世旺;无遮的光芒[J];读书;2004年04期
2 张合珍;《嘉莉妹妹》哲学思想探微——兼论德莱塞小说的现代主题[J];杭州师范学院学报;1999年02期
3 潘新华;德莱塞《嘉莉妹妹》的自然主义解读[J];湖州师范学院学报;2005年03期
4 栾金凤;;思想性与自然主义创新手法的统一——德莱塞小说的生命之源[J];辽宁行政学院学报;2006年07期
5 蒋道超;论德莱塞《“天才”》中的哲学沉思[J];外语研究;2002年05期
6 吴芳;评《嘉莉妹妹》中的自然主义道德观[J];青岛大学师范学院学报;2000年03期
7 方成;德莱塞自传体小说《“天才”》的自我表征模式与大众意识裂变[J];外国文学研究;2003年02期
相关硕士学位论文 前7条
1 马秀丽;德莱塞长篇小说创作与二十世纪上半叶美国的消费文化[D];山东师范大学;2006年
2 马慧;德莱塞创作的现代主义特性[D];山东师范大学;2006年
3 车俊思;《娜娜》与《嘉莉妹妹》中的自然主义创作倾向比较研究[D];吉林大学;2007年
4 邱晶;德莱塞笔下破碎的“美国梦”及其悲剧审美意义[D];华中师范大学;2007年
5 陈双莲;孤独的开拓者[D];吉林大学;2008年
6 张华英;德莱塞长篇小说的悲剧意识[D];内蒙古师范大学;2008年
7 吴芹;德莱塞小说的悲剧性研究[D];山东大学;2008年
本文编号：2329139
本文链接：https://www.wllwen.com/wenyilunwen/wxchuangz/2329139.html
