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近十多年来,文学理论和文化理论正在扩展成一种具有相当普适性的“批评理论”。批评理论有四个支柱,其余都是其延伸。只要我们回到四个支柱理论,我们就不会永远陷于“不是跟着说,就是自言语”(固守19世纪之前的本土思想语汇)的两难之境。事实证明,中国学者能够对建立一个普适性的批评理论做出贡献。本文试图在广义叙述学范围内讨论叙述时间:叙述是意识把握内在时间的基本方式,只有在穿越叙述行为、叙述文本、叙述的接受三个环节的交互主体关系中,这种时间向度才能充分显现。叙述的贯通时间向度可以有三种:过去向度(小说、历史)、未来向度(广告、预言)和现在向度(戏剧、电影、电视新闻、电子游戏等)。西方学界之所以无法处理各种叙述体裁的独特时间问题,是因为他们受制于西方学术传统以及西方语言的时态。
For more than a decade, literary theory and cultural theory have been expanding into a rather universal “critical theory.” The theory of criticism has four pillars, the rest of which is its extension. As long as we get back to the four pillars of the theory, we will not always be trapped in the dilemma of “not following what we say is our own speech.” Facts have proved that Chinese scholars can contribute to building a universal theory of criticism. This article attempts to discuss the narrative time within the scope of general narrative: narration is the basic way that consciousness grasps the inner time. Only in the interactive subject relationship of the three links of narration, narrative text and narration, can this degree of time be sufficient appear. There are three ways in which narration can span time: historical (fiction, history), future (advertising, prophecy), and modernity (drama, film, television news, video games, etc.). The unique time that Western academics can not handle the various genres of narratives is due to the fact that they are subject to Western academic traditions and the tense of Western languages.