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情景的重要性根据小说不同而不同。结构主义叙事学认为情景是从属于母题的静态描写,而在各种文学思潮和实验写法盛行的20世纪文坛,这一说法无疑具有很大局限性。本文认为情景在小说中是动态的,并以戴维·洛奇代表作《小世界》为个案研究其情景的动态性。文章以“情景框架理论”为基础,展示原型情景框架和典型情景框架如何借助读者“普通知识”与“文本特定知识”之间的冲突、“典型文本知识结构”与“文本特定知识”之间的冲突和“文本特定知识”内部的冲突动态建构《小世界》中虚幻情景的意义、气候情景的意义、物品情景的意义和冒险情景的意义。最终小说通过情景的动态性达到对整个场景、整部作品、甚至整个时代的广义的反讽。
The importance of a scene varies according to the novel. Structuralist narratology that the scene is subordinate to the static description of the motif, and in a variety of literary trends and experimental writing prevailed in the 20th century literary world, this saying is undoubtedly very limited. This paper argues that the scenario is dynamic in the novel, and studies the dynamics of the scenario based on the case of David Lodge’s “Little World.” Based on “Situational Framework Theory ”, the article shows how the prototypical framework and the typical scenario framework are based on the conflict between reader ’s common knowledge and text - specific knowledge ’, Conflict with “Text Specific Knowledge ” and “Text Specific Knowledge ” Internal Conflicts Dynamically construct the meaning of the illusory scenario in “Little World”, the significance of climate scenario, the significance of scenario and the significance of risk scenario. Ultimately the novel achieves a generalized irony of the entire scene, of the entire work, and of the whole time through the dynamics of the scene.