叙事学视野下的小说情节
发布时间：2018-09-09 08:43
【摘要】： 情节是叙事文体一个历史悠久的基本范畴问题，情节问题之所以成其为一个问题，其缘由与核心乃是情节的概念问题以及由此引发的情节的地位与评价问题。情节是什么?情节何以成为叙事的核心要素?又何以变得无足轻重而被广加挞伐?从作者、文本和读者的角度如何评价情节?情节概念从来就不是一个静止的范畴，它并非它看起来那样澄明。搞清楚各个时期的情节概念，弄清它们与各个时代的文学思潮和互动关系，重溯情节演变的历史，有助于解决目前情节概念和情节观念的混乱与模糊，也将推动对叙事文体的相关文学现象的进一步考察与研究。本文依据各种情节观出现的先后顺序、情节发展的历史线索、各时期情节观的主要思想和特征，在总体的时间顺序下又按照各情节观的内在特征与相互关系进行多层次的分期分类，试图从叙事学的角度，对小说情节研究的历史与发展加以梳理和总结，溯源别流，对各个时期情节观的变异与承续加以辨析，厘定情节观演变的历史轨迹，反观或反证各个时期的总体文论思想作为大背景对情节观的相关影响，以简史的形式重现情节研究的历史与现状。在此基础上，进行中西情节观的比较，辨析中西文论思想中相关的异同之处，进一步把以上结论运用于诸如现代小说的情节淡化倾向等问题的探讨，尝试与摸索更有效地解读当前叙事文体的某些相关问题的路径与方法，则是下一步可以进行的工作。 论文主要包括传统／经典情节观、形式文论情节观、当代情节研究三个阶段四个部分。论文的开头以小引的形式简要介绍了叙事学的源头——亚里士多德的悲剧情节观，文末附录对该问题有进一步的论述。传统情节观部分以西方传 统/经典情节观为主线，以中西情节观比较的形式介绍其总体特征，‘即论文的第 一、二章。第一章—弗雷塔格金字塔及传统情节诸问题，从亚里士多德的悲 剧情节观引入传统的小说情节观，主要论述三段五环节的传统情节观及其基本 问题。三段五环节的传统情节观在二十世纪以前，一直被奉为小说叙事之圭桌。 从现代主义小一说创作开始，情节的作用开始淡化，情节研究的价值取向也发生 了变化。为了论述的相对集中，本文未能论及小一说文体的发展对叙事情节的影 响，而是把这一情节模式作为传统情节的普遍规律加以论述。第二章—情节 之道与情节之技，主要论述情节的核心要素，即情节中的秩序:因果秩序、时 间顺序、空间顺序，并从文化传统与文化意识形态与情节模式的同构性角度， 寻找因果逻辑为核心的叙事顺序在叙事文本中的具体表现形式与客观规律，通 过追溯中西情节观背后不同的文化传统及不同的文化意识形态，揭示中西情节 观的本质上的异同。时间顺序与空间顺序归根到底还是一种因果逻辑顺序，，而 因果逻辑顺序不过是文化传统与文化意识形态在叙事文本中的具体表现。情节 之道指的是情节安排布局的根本原则，对中西情节观的追溯必然要上升到中西 不同的文化传统、不同的文化意识形态上来，这也是小说叙事情节的根本之道。 情节之技受情节之道有形与无形的影响与控制，体现出不同的特点—这在相 同或相近的题材与主题的不同叙事中表现得尤为明显。 形式文论情节观是论文的第三章，总体上按时间划界，各阶段则按各情节 理论的内部特征及其关联加以分类。这一部分从叙事学角度介绍了俄国形式主 义的“话语”情节观，以及结构主义的“故事”层面的情节，包括“深层”与 “浅层”的情节结构论，宏观情节研究与微观情节研究。形式文论情节观是叙 事学情节观的理论之源，共同特点是其语言学取向，其内部又存在分歧与差异。 大体上说，俄国形式主义情节观更近似于“话语”情节观，结构主义情节观则 倾向于“故事”层面的情节—包括“深层”与“浅层”的情节结构论。 解构主义与新叙事学的复兴以形式主义文论取得的巨大成就为基础，是形 式主义文论的发展与延续，循此思路，末章论述解构主义与新叙事学的小规模 复兴背景下的情节观，探讨文化意识形态分析与解构主义思潮在后现代小说批 评中的作用与意义，分析了后现代小一说的情节特征及其批评意义。后现代小说 中的情节及其文化意识形态分析，与解构主义思潮与文化研究的兴起直接相关。 符号学与结构主义理论是经典叙事学的立论之基，解构主义思潮与结构主义之 }、l、J的断裂与延续，对新叙事学的发生与发展产侧了重大影响。解构主义在对经 典叙事学形成冲击与挑战，使之一度陷入低谷的}同时，也为新叙事学的复兴带 来了无限生机。解构主义与文化研究是当代叙事学发展的新方向，新叙事学不 是对经典叙事学的简单回归，在把经典叙事学研究置于新的语境，并全面拓展 其研究方法与研究领域。在小说情节研究方面，…其核心观念体现出多元与动态 的特点。
[Abstract]:The plot is a basic category of narrative style with a long history. The reason and core of the plot problem is the concept of the plot and the status and evaluation of the plot. What is the plot? Why does the plot become the core element of narration? Why does it become unimportant and widely criticized? How to evaluate the plot from the point of view of the author, text and reader? The concept of plot has never been a static category, it is not as clear as it seems. To clarify the concept of plot in different periods, to clarify their literary trends and interaction with each era, and to retrace the history of the evolution of the plot will help to solve the current concept of plot and to solve the problem. The confusion and ambiguity of plot concept will also promote the further investigation and study of the related literary phenomena of narrative style.This paper, based on the sequence of occurrence of various plot concepts, the historical clues of plot development, the main ideas and characteristics of plot concepts in different periods, also follows the intrinsic characteristics and mutual relations of the plot concepts in the overall chronological order. Relations are classified in different stages at different levels, trying to sort out and summarize the history and development of the study of novel plots from the perspective of narratology, tracing back to different origins, differentiating the variation and succession of the concept of plot in different periods, defining the historical track of the evolution of the concept of plot, and reflecting or disproving the general literary theory of each period as a background. On this basis, the author compares the Chinese and Western plot views, analyzes the similarities and differences between the Chinese and Western literary theories, and further applies the above conclusions to the discussion of such problems as the tendency of plot dilution in modern novels, and tries to find a more effective way to understand them. Reading the path and method of some related problems in the narrative style is the next step.
The thesis mainly consists of three stages: the traditional/classical plot view, the formal literary plot view and the contemporary plot study. At the beginning of the paper, Aristotle's tragic plot view, which is the origin of narratology, is briefly introduced in the form of a small quotation. The appendix at the end of the paper further discusses this issue.
With the unified / classical plot view as the main line, this paper introduces its general characteristics in the form of comparison between Chinese and Western plot view,'that is, the first one of the papers.
Chapter one and chapter two. Chapter 1 - the problems of Aristotle and his traditional tragedies in Pyramid
The plot concept introduces the traditional plot view of the novel. It mainly discusses the traditional plot view of the three five rings and its basic principles.
The traditional plot view of the three five rings has been regarded as the Guixi table of the novel before twentieth Century.
Starting from the creation of modernism, the function of plot began to weaken, and the value orientation of plot research also occurred.
In order to discuss the relative concentration, this paper fails to discuss the influence of the development of the style of Xiaoyi on the narrative plot.
Ring, but the pattern of the plot as a general rule of the traditional plot to be discussed. The second chapter - plot
The technique of Tao and plot mainly deals with the core elements of the plot, that is, the order in the plot: the order of cause and effect.
From the perspective of isomorphism between cultural tradition and cultural ideology and plot pattern,
Looking for the concrete form and objective law of narrative order in the narrative text with causal logic as the core.
Tracing back to the different cultural traditions and different cultural ideology behind the Chinese and Western plots, revealing the western and Chinese plots.
The order of time and the order of space are, in the final analysis, a causal logic sequence.
The logical sequence of cause and effect is only the specific manifestation of cultural tradition and cultural ideology in narrative texts.
Dao Dao is the fundamental principle of plot arrangement, and the retroactivity of Chinese and Western plots must rise to the West.
Different cultural traditions and different cultural ideologies are also the fundamental way to plot plots.
The plot is influenced by and controlled by the visible and invisible elements of the plot.
The same or similar themes and themes in different narratives are particularly evident.
The concept of plot theory is the third chapter of the thesis. In general, the plot is delimiting according to time.
The internal characteristics of the theory and its relevance are classified. This part introduces the Russian form masters from the perspective of narratology.
The plot of "Discourse" and the plot of "story" at structuralism include "deep" and "deep".
"Shallow" plot structure theory, macro plot research and micro plot research.
The source of the theory of plot view is its linguistic orientation and its internal differences and differences.
Generally speaking, the Russian formalism plot view is more similar to the "Discourse" plot view and the structuralism plot view.
The plot that tends to "story" level includes the theory of "deep" and "shallow" plot structure.
The revival of deconstruction and new narratology is based on the great achievements made by formalist literary theory.
With the development and continuation of the theory of style, the last chapter discusses the small scale of deconstruction and new narratology.
The concept of plot in the context of revival explores the analysis of cultural ideology and deconstructionism in postmodern fiction.
The function and significance of the criticism are analyzed. The plot characteristics and critical significance of the postmodern novel are analyzed.
The plot and the analysis of cultural ideology are directly related to the trend of deconstruction and the rise of cultural studies.
The theory of semiotics and structuralism is the basis of classical narratology.
}, the rupture and continuity of L and J have a significant impact on the occurrence and development of new narratology.
Canonical narratology formed a shock and challenge, which once plunged into a depression, and at the same time, revived the new narratology.
Deconstruction and cultural research are new directions in the development of contemporary narratology.
It is a simple regression to classical narratology, placing the study of classical narratology in a new context and expanding it in an all-round way.
Its research methods and research fields. Its core concepts reflect pluralism and dynamics.
Characteristics.
【学位授予单位】：四川大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I054
本文编号：2231884
[Abstract]:The plot is a basic category of narrative style with a long history. The reason and core of the plot problem is the concept of the plot and the status and evaluation of the plot. What is the plot? Why does the plot become the core element of narration? Why does it become unimportant and widely criticized? How to evaluate the plot from the point of view of the author, text and reader? The concept of plot has never been a static category, it is not as clear as it seems. To clarify the concept of plot in different periods, to clarify their literary trends and interaction with each era, and to retrace the history of the evolution of the plot will help to solve the current concept of plot and to solve the problem. The confusion and ambiguity of plot concept will also promote the further investigation and study of the related literary phenomena of narrative style.This paper, based on the sequence of occurrence of various plot concepts, the historical clues of plot development, the main ideas and characteristics of plot concepts in different periods, also follows the intrinsic characteristics and mutual relations of the plot concepts in the overall chronological order. Relations are classified in different stages at different levels, trying to sort out and summarize the history and development of the study of novel plots from the perspective of narratology, tracing back to different origins, differentiating the variation and succession of the concept of plot in different periods, defining the historical track of the evolution of the concept of plot, and reflecting or disproving the general literary theory of each period as a background. On this basis, the author compares the Chinese and Western plot views, analyzes the similarities and differences between the Chinese and Western literary theories, and further applies the above conclusions to the discussion of such problems as the tendency of plot dilution in modern novels, and tries to find a more effective way to understand them. Reading the path and method of some related problems in the narrative style is the next step.
The thesis mainly consists of three stages: the traditional/classical plot view, the formal literary plot view and the contemporary plot study. At the beginning of the paper, Aristotle's tragic plot view, which is the origin of narratology, is briefly introduced in the form of a small quotation. The appendix at the end of the paper further discusses this issue.
With the unified / classical plot view as the main line, this paper introduces its general characteristics in the form of comparison between Chinese and Western plot view,'that is, the first one of the papers.
Chapter one and chapter two. Chapter 1 - the problems of Aristotle and his traditional tragedies in Pyramid
The plot concept introduces the traditional plot view of the novel. It mainly discusses the traditional plot view of the three five rings and its basic principles.
The traditional plot view of the three five rings has been regarded as the Guixi table of the novel before twentieth Century.
Starting from the creation of modernism, the function of plot began to weaken, and the value orientation of plot research also occurred.
In order to discuss the relative concentration, this paper fails to discuss the influence of the development of the style of Xiaoyi on the narrative plot.
Ring, but the pattern of the plot as a general rule of the traditional plot to be discussed. The second chapter - plot
The technique of Tao and plot mainly deals with the core elements of the plot, that is, the order in the plot: the order of cause and effect.
From the perspective of isomorphism between cultural tradition and cultural ideology and plot pattern,
Looking for the concrete form and objective law of narrative order in the narrative text with causal logic as the core.
Tracing back to the different cultural traditions and different cultural ideology behind the Chinese and Western plots, revealing the western and Chinese plots.
The order of time and the order of space are, in the final analysis, a causal logic sequence.
The logical sequence of cause and effect is only the specific manifestation of cultural tradition and cultural ideology in narrative texts.
Dao Dao is the fundamental principle of plot arrangement, and the retroactivity of Chinese and Western plots must rise to the West.
Different cultural traditions and different cultural ideologies are also the fundamental way to plot plots.
The plot is influenced by and controlled by the visible and invisible elements of the plot.
The same or similar themes and themes in different narratives are particularly evident.
The concept of plot theory is the third chapter of the thesis. In general, the plot is delimiting according to time.
The internal characteristics of the theory and its relevance are classified. This part introduces the Russian form masters from the perspective of narratology.
The plot of "Discourse" and the plot of "story" at structuralism include "deep" and "deep".
"Shallow" plot structure theory, macro plot research and micro plot research.
The source of the theory of plot view is its linguistic orientation and its internal differences and differences.
Generally speaking, the Russian formalism plot view is more similar to the "Discourse" plot view and the structuralism plot view.
The plot that tends to "story" level includes the theory of "deep" and "shallow" plot structure.
The revival of deconstruction and new narratology is based on the great achievements made by formalist literary theory.
With the development and continuation of the theory of style, the last chapter discusses the small scale of deconstruction and new narratology.
The concept of plot in the context of revival explores the analysis of cultural ideology and deconstructionism in postmodern fiction.
The function and significance of the criticism are analyzed. The plot characteristics and critical significance of the postmodern novel are analyzed.
The plot and the analysis of cultural ideology are directly related to the trend of deconstruction and the rise of cultural studies.
The theory of semiotics and structuralism is the basis of classical narratology.
}, the rupture and continuity of L and J have a significant impact on the occurrence and development of new narratology.
Canonical narratology formed a shock and challenge, which once plunged into a depression, and at the same time, revived the new narratology.
Deconstruction and cultural research are new directions in the development of contemporary narratology.
It is a simple regression to classical narratology, placing the study of classical narratology in a new context and expanding it in an all-round way.
Its research methods and research fields. Its core concepts reflect pluralism and dynamics.
Characteristics.
【学位授予单位】：四川大学
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：I054
【引证文献】
相关硕士学位论文 前1条
1 丁雅;《夷坚志》的叙事学研究[D];浙江师范大学;2007年
本文编号：2231884
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