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本文综合了赫尔曼、热奈特、斯滕博格、罗塞等学者提出的关于背景故事的定义,对背景故事这一尚未得到广泛关注的现象进行了深度研究。本文包括三大部分。第一部分探讨了关于背景故事的术语。主要讨论了背景故事的三种呈现方式,即作者型、透视型和交互型;背景故事关注的小说的三个主要因素:角色和事件、背景以及文本本身;背景故事由谁呈现和何时呈现等问题。与此同时,本文还认为背景故事超越了角色和环境,从而直指文本本身。第二部分探讨背景故事的地位,即关于法布拉(主题,fabula)和休热特(情节,sujet)两大问题。本文认为背景故事的多变本质使之很难被归入二者之其一。第三部分讨论了背景故事在叙事中的扩散。因为背景故事永远都无法完整呈现,因此背景故事溢出叙事的风险是存在的,从而导致“艺术经济”的需求。作者采用演绎和归纳两种方式来发展其理论,认为背景故事在定义和深化小说世界上发挥着重要而又复杂的作用,很大程度上,小说的美学质量也有赖于背景故事的发挥程度。
This article synthesizes the definitions of background stories proposed by Herman, Reynolds, Steenberg and Rossees, and deeply studies on the background story, which has not received much attention. This article includes three parts. The first part explores the terminology of background stories. It mainly discusses three kinds of presentation modes of background stories: author type, perspective type and interactive type. Three main factors of the novel concerned by background story are the characters and events, the background and the text itself. The background story is presented by whom and when And other issues. At the same time, this article also believes that the background story beyond the role and environment, which is directed at the text itself. The second part explores the status of the background story, namely the two major issues concerning Fabula and Hugh Heat. This paper argues that the changing nature of background stories makes it hard to fall into either. The third part discusses the proliferation of background story in the narrative. Because the background story can never be completely rendered, there is a risk that the background story will overflow the narrative, resulting in a demand for “art economy.” The author adopts two ways of deduction and induction to develop his theory. He believes that background story plays an important and complex role in defining and deepening the world of fiction. To a great extent, the aesthetic quality of the novel also depends on how well the background story is played.