论小说修辞的主体间性

发布时间：2018-03-16 15:45

本文选题：小说修辞　切入点：作者主体　出处：《福建师范大学》2005年硕士论文　论文类型：学位论文

【摘要】：小说修辞是小说家为了控制读者的反应,“说服”读者接受小说中的人物和主要的价值观念,并最终形成作者与读者间的心照神交的契合性交流关系,而选择和运用的相应的方法、技巧和策略的活动。传统的小说修辞观以作者为中心,作者在小说中占据主导地位,有如上帝一般全知全能。于是,作者的创作意图、创作活动、心理体验及其创作背景成了一部小说意义的唯一依据。这是一种设定了的单向输出的运作程序,因为小说中的人物由作者任意摆布,而读者也只是受到了呼唤,他们都并未真止参与到小说修辞活动当中;而以读者为中心的小说修辞观义走向了另一个极端,它坚持小说作品的意义只能存在于读者的“自我”之中,读者的创造性理解是小说意义的唯一性根据,这又是一种单向传输模式。不仅无视小说文本的主体性及其客观意义,也不把作者这一创作主体放在眼里。事实上,小说作品也像商品一样,要经历生产、流通、消费三个不同的阶段,而且这三个阶段也构成一个统一的、有机的、缺一不可的文学过程。在这一过程中,既有作者——文本的关系,也有读者——作品的关系。也就是说,没有作者的创作就没有小说文本,没有文本也谈不到文学接受;同样,没有文学接受,小说作品的潜能就实现不了,作品还只是可能的存在而不是现实的存在,作者的意图和目的还没有实现, 文学创作的意义就无从谈起。所以说无论是偏重于作者主体还是读者主体,任何一种小说修辞格局都无法达到小说修辞的真正目的,即各主体间自由地交流与沟通。因此,小说修辞的主体问性被提剑了意识日程。除了创作主体、接受主体外还应强调小说文本的主体性,这三种主体都要参与到小说修辞活动当中,各主体之间在不断的碰撞、交流中才能达到对话与沟通的根本目的,并最终实现小说自身的文学意义。如此,小说修辞的主体间性得以实现。从实践上说,作者、文本和读者共处于一个理解和交往的共同体中,具有对话的普遍需要,文学的意义在对话中不断地生成。
[Abstract]:Fiction rhetoric is a novelist who, in order to control the reader's reaction, "persuades" the reader to accept the characters and the main characters in the novel. And finally form the harmonious communication relationship between the author and the reader, and choose and use it. The activities of the corresponding methods, techniques and strategies. The traditional rhetoric view of fiction is centered on the author, who occupies the dominant position in the novel, just like God knows everything. Therefore, the author's creative intention, creative activities, psychological experience and the background of his creation become the meaning of a novel. This is a set of one-way output operating procedures because the characters in the novel are arbitrary by the author. At the mercy of the reader, they are not really involved in the rhetoric of the novel. The meaning of the figure of speech in the novel has gone to the other extreme, which insists that the meaning of the novel can only exist in the reader. In the "self" of the novel, the readers' creative understanding is the unique basis of the meaning of the novel, which is also a kind of one-way transmission. Mode. Not only ignore the subjectivity and objective significance of the novel, but also ignore the author as a creative subject. In fact, fiction works, like commodities, have to go through three different stages: production, circulation and consumption. And these three stages also constitute a unified, organic, indispensable literary process. In this process, There is a relationship between the author and the text, as well as the reader-the work. That is to say, without the author's creation, there is no. If there is a novel, there is no text, and there is no literary acceptance. Similarly, without literary acceptance, the potential of a novel is. No, the work is just a possible existence, not a realistic existence, and the author's intention and purpose have not yet been realized. The significance of literary creation cannot be discussed. Therefore, no matter whether it is the author or the reader, the rhetorical structure of any novel can not be achieved. The real purpose of fiction rhetoric is to communicate freely among the subjects. Besides the subject of creation and the subject of acceptance, the subjectivity of the text of the novel should be emphasized, and these three kinds of subjects should be emphasized. The body must participate in the rhetoric activity of the novel, the main body is in the constant collision, only in the communication can the dialogue and the communication reach the goal of dialogue and communication. The basic purpose of communication and the ultimate realization of the literary significance of the novel itself. In this way, the intersubjectivity of the rhetoric of the novel can be achieved. In practice, the author, the text and the reader live together in a community of understanding and communication, with dialogue. The universal need for literary meaning in the dialogue continues to generate.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I054

【相似文献】