论文部分内容阅读
文本延伸必须展开叙述,而小说叙述视点又具有多样性与交错性:可以文本外“旁观者”视野叙述,也可以“局内人”修辞身份叙述。后者又包括“我”的一元叙述及文本内部人物间多元叙述。亦即叙述主体“我”分为“假我”、“真我”、“无我”或多元交错叙事模式。从M.巴赫金的“狂欢”理论出发,认为这几种“我式叙述”分别反映了文学话语在表达与接受过程中的“熟悉化”、“陌生化”、“狂欢化”修辞策略,同时显示出文本“独白”或“对话”性的修辞意识。
The extension of the text must be narrated, but the narrative point of view of the novel has its diversity and staggering: it can be narrated from the perspective of “bystander” or the identity of “insider”. The latter also includes a single description of “I ” and multiple narratives within the text. That narrative subject “I ” is divided into “fake me ”, “true me ”, “no me ” or multiple cross narrative mode. Based on M. Bakhtin’s Theory of Carnival, these types of “my narratives” respectively reflect the “familiarization” and “defamiliarization” of literary discourse in the process of expression and acceptance, , “Carnivalization” rhetorical strategy, at the same time, it shows the rhetorical awareness of the text “monologue” or “dialogue”.