空间的诱惑——从接受之维谈小说艺术的空间观

发布时间：2018-07-04 19:14

本文选题：间的 + 诱惑　；参考：《河南大学》2001年硕士论文

【摘要】：20世纪是当之无愧的批评的世纪。西方批评在这百年中思潮迭起，新说辈出，经历了三次重大的理论转折。在十九世纪风行的社会历史批评之后，它经历了作者中心论范式、文本中心论范式和读者中心论范式这样三个前后相继、在相互否定的转换中交叉运作的历史阶段。从批评史来看，在作者一文本一读者的运作链条中，历来研究最少，需要填补的最大空间显然是读者。读者成了理论自身发展的内在要求和总体指向。实践证明，读者在文学中的地位不但被充分肯定，而且日益得以重视、提升和突出。而以读者为中心的文学批评模式正在努力地突破文学而走向文化，走向历史，走向社会。因此，任何对读者的接受和反映空间作系统、客观地梳理和界定的尝试都应是可行和必要的。小说作为一种最重要和时髦的文学体裁，其文本中蕴藏着巨大的读者参与空间。本文将重点就小说艺术的空间从读者阅读前、阅读中和阅读后及反复阅读等方面作系统、深层次地探索和阐述，，尽管关于读者在阅读前和阅读后的空间分析同样适合于任何一种文学形式。本文共分七章。第一章是总论部分，简单回顾了批评史上三大理论范式的转变，及其在这一转变过程中读者的兴起。并且突破了传统小说理论研究模式，站在文学发展共时性和历时性的交叉点上，对空间、读者和阅读作了尝试性的界定。第二爪以义论学家姚斯的“讪待视野”概念为切入点，对读者阅读前的期待空间进行了心理l、力”式上、特征上的分析，证明了读者的期待过程实际上也是一种创造过程。小说文本是读者消费的直接对象，文本空间是读者阅读过程中可参与和享用的最大空间。本文第三章从现实主义、现代及后现代主义小说的不同层次，对小说艺术的空间从情节、人物、主题、叙述视角、结构和语言共六个方面所表现的形态和范围作了深入探讨和阐述，论证了小说文本空间激发、诱导读者进行创造性填补和想象性连接的召唤功能。同时，又通过对读者在阅读过程中的体验性和超越性的分析，展现了由读者自身发掘的文本空间的另一个重要层m。反复阅读是文学接受中的常见现象。本文在第四章对同一读者和不同读者在反复阅读中的参与空间进行了概述，证明了优秀的文学文本的魁力是无限的。读者的接受和反映空间不仅呈现于阅读前的期待空间、阅读中的文本空间和反复阅读空间，而且也表现在读者的阅读行为完成后的影响空间。本文的第五章从读者欣赏水平的提高、视野的扩展、文本的愉悦和启迪功能入手，探讨了小说文本对读者的直接影响空间。又从文学思潮和流派的兴衰、大众心理、潜意识和集体无意识的形成等方面，分析了读者所享有的影响空间，阐述了通过阅读，读者对新的文本会产生更高、更大、更新的期待，从而在史高一级层面上参与了对新的文本的创造作用。第六章重点分析了读者参与空间应受文本和读者自身条件的制约和肘否瞩避免厂片吕什人诚我匡…p剁且巨止！门极9 巨个人个义（危险。第七章是本文的总论和结尾。通过对读者在阅读前、阅读及反复阅读中、阅读后的接受和反映空间的界定和梳理，通过对读者参与空间的有限性的分析和展现，笔者旨在让读者了解、发掘、发现、享受和扩展自己的参与空间，让作者能够更深地了解读者的期待空间和影响空间，进而在文本中设计出读者参与的文本空间，创造出为读者所喜闻乐见的优秀作品，最终使人们能够积极、主动地投身于文学创造工程中去，使文学艺术永僳其艺术魁力。
[Abstract]:Twentieth Century is a well deserved criticism century.
As a result, the new theory has come forth in large numbers, and has undergone three major theoretical changes. In the nineteenth Century, a popular society.
After historical criticism, it went through the author centered paradigm, the text centered paradigm and the readers.
There are three successive stages of the paradigm of mind.
From the history of criticism, it has always been the most studied in the operation chain of author, text and reader.
The biggest space that needs to be filled is obviously the reader.
Practice has proved that readers' position in literature is not only fully affirmed.
Moreover, it has been increasingly valued, promoted and highlighted.
To strive to break through literature and move towards culture, to history and to society.
Readers' acceptance and reflection of space should be feasible.
And necessary.
As one of the most important and fashionable literary genres, novels contain great contents.
Reader's participation in space. This article will focus on the space of novel art before reading.
And deep reading and reading after reading and repeating.
The reader's spatial analysis before reading and after reading is also suitable for any form of literature.
This article is divided into seven chapters. The first chapter is the introduction. It briefly reviews the three Dali in the history of criticism.
On the transformation of paradigm, and the rise of readers in this transformation process, and broke through the tradition.
The research mode of fiction theory stands at the intersection of synchronic and diachronic development of literature.
The reader and reading have been defined as an attempt.
The second claw is based on the concept of "waiting for the vision" of Yao's theory.
The expectation space before reading is analyzed by psychological L, force, and character analysis, which proves the readers.
The process of anticipation is actually a process of creation.
The text of a novel is the direct object of readers' consumption.
The third chapter is from realism, modern and post modernism.
At different levels of fiction, the space for novel art is from plot, character, theme and narrative perspective.
The form and scope of the six aspects of structure and language are discussed and expounded in depth.
It proves that the text space is stimulated, and the reader is invited to make creative filling and imaginative connection.
At the same time, through the analysis of readers' experience and Transcendence in the process of reading,
It shows another important layer of text space, which is excavated by readers themselves. M.
Repeated reading is a common phenomenon in literary acceptance. In the fourth chapter, the same reader and
The different readers' participation space in repeated reading is summarized, which proves the excellent Wen Xuewen.
The power of this is infinite.
Readers' acceptance and reflection space not only appear in the expectation space before reading, but also in reading.
The text space and the repeated reading space are also reflected in the readers' reading behavior.
The fifth chapter is about the improvement of readers' appreciation level, the expansion of horizons, and the text.
Starting with the function of pleasure and enlightenment, this paper probes into the direct influence space of novel text on readers.
The rise and fall of literary trends and schools, the mass psychology, the subconscious and the formation of collective unconscious.
It analyzes the space that readers enjoy, and expounds that through reading, readers will produce higher, larger, and updated expectations for the new text, thus participating in the level level level.
The creative role of the new text.
The sixth chapter analyzes the constraints of readers' participation in space and texts.
And the elbow will not pay attention to avoid the factory piece Lu Shi people sincerity I Kuang... P chop and stop! Gate 9 great personal meaning (danger)
Risk.
The seventh chapter is the general introduction and conclusion of this article.
In reading, the acceptance and reflection space after reading is defined and combed through the participation of readers.
The analysis and presentation of the finiteness between the two are intended for readers to understand, discover, discover, and enjoy.
And expand their participation space, so that the author can better understand the reader's expectation space and shadow.
Then we design the text space of readers' participation in the text and create the reader's place.
The excellent works that we like to see eventually enable people to actively and actively participate in literary creation.
In the project, literature and art will always be the great force of art.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2001
【分类号】：I054

【共引文献】