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(至少)就文学叙事而言,我建议用下述方式来理解“叙述者”:一个内在于文本的语言位置,正在进行的叙述话语作为一个整体出现在这个位置上,话语所涉及的存在物、行动和事件也在这个位置上被标记出来。通过转喻转移和人格化的双重过程,“叙述者”这个术语被用来指代在这个位置上的假定占据者、叙述话语的假定生产者。叙述者是一个通过语言标记的、文本投射的、读者辨别的位置,这个位置上的占据者需主要从交际角色来看待,它不同于真实世界中有血有肉的(或计算机的)文本生产者。本文简要描述了八个不同的一般因素(语言学的、哲学的、方法论的和一般文学理论的),这些因素能够促使叙事学家判断叙述者在其文学叙事的一般模式中是不可或缺的一个种类/实例,还只是一个可选元素。在文章结尾,本文论述了近期两个试图规避这个选择的理论行动:重新描绘叙事学家的研究对象范畴或重新界定叙述者概念自身的地位。
(At least) as far as literary narratives are concerned, I suggest that “narrator” be understood in the following way: a linguistic position inherent in the text in which the ongoing narrative discourse appears as a whole in this context, Existence, actions and events are also marked in this position. Through the dual process of metonymic transfer and personalization, the term “narrator” is used to refer to the hypothetical occupant in this position, the hypothetical producer of the narrative discourse. The narrator is a linguistically marked, text-projected, reader-discernable position in which the occupant needs to be predominantly communicative, unlike the flesh-and-blood (or computer) text producer in the real world. This article briefly describes eight different general factors (linguistic, philosophical, methodological, and general literary) that have enabled narratologists to judge that the narrator is indispensable in the general model of his literary narrative A category / instance is just an optional element. At the end of the article, this article discusses two recent theoretical actions that attempt to circumvent this choice: redrawing the narrator’s subject area or redefining the narrator’s own position.