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小说《尘埃落定》叙事者形象设定合理与否一直是学术界颇有争议的问题。本文基于对传统叙事学的借用和批判,认为阿来采用的显性与隐性相辅相成的双重叙事层次有效地呼应了作品的主题意蕴。小说显像层面以“傻子”二少爷为第一人称的有限叙事视角,然而他通晓未来的“先知”形象又使得全知视角具备了可行性。同时,小说设定了书记官翁波意西为故事的隐性叙事者,两者相互补充相互影响,形成了完美的一明一暗的双层叙事。两种叙事间的主次选择体现了作者对传统口传叙事与现代书面叙事间融合共生之可能性的可贵思考,使得《尘埃落定》的叙事艺术成为当代文学中的经典。
It is always a controversial issue in academic circles to set reasonable or not the narrator’s image of “settling the dust.” Based on the borrowing and criticism of traditional narratology, this thesis argues that the double narrative level that Alain adopts and complements the dominant and the implicit effectively echoes the theme of the work. The level of fictional development is based on the limited narrative perspective of “the idiot” and “second master” as the first person. However, his understanding of the future “prophet” image makes the omniscience perspective feasible. At the same time, the novel sets the recountor Weng Po-yee as the implicit narrator of the story, which complement each other and form a perfect double-layered narration of light and darkness. The primary and secondary choices between the two narratives reflect the author’s valuable consideration of the possibility of the fusion between the traditional oral narrative and the modern written narrative, making the narrative art of “Dust settled” a classic in contemporary literature.