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兴起于60年代的叙事学研究给文学作品提供了一种全新的研究方法。传统小说叙事理论我们可以追溯到18世纪英国以菲尔丁为代表的第三人称全知叙述与理查逊为代表的书信体小说。二者展开了激烈的争论。到了19世纪,在叙事理论方面,奥斯丁脱颖而出,弥补了书信体所造成的小说篇幅冗长、故事停滞及由第三人称全知叙述所产生的读者与故事之间的离间效果,形成了其自己的一套独特的叙事技巧。本文就试以奥斯丁最为成熟的作品《爱玛》为例,结合叙事理论代表人:巴特尔,布斯及格雷马斯等的叙事原理,从故事和叙述者这两个叙事文学作品的基本特征层面上来分析奥斯丁的叙事技巧。
The studies of narratology that rose in the 1960s provided a completely new approach to literary works. The traditional fictional narrative theory can be traced back to the epistolary novel represented by the third-person omniscient narration and Richardson in the 18th century Britain as Fielding. The two started a heated debate. By the 19th century, Austin came to the fore in the theory of narrative, which made up for the long period of novel caused by epistolary, the stagnation of the story and the separation effect between the reader and the story produced by the omniscient narration of the third person, forming his own A unique set of narrative skills. This article tries to take Austin’s most mature work “Emma” as an example, combined with the narrative theory representatives: Battle, Booth and Greimas and other narrative principles, from the story and narrator of these two narrative literary works of the basic Analyze Austin’s narrative skills at the feature level.