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故事是小说传达意义的主要载体,但其目的却大于故事。小说情节的起点、发展动力、目标都不应单纯用故事的标准去限定,有时,小说荒诞的形式和无逻辑的叙事都可以达成文学的意义。对于卡夫卡的《城堡》而言,叙事起点是回避现实逻辑的、不稳固的,叙事的过程是不断迷失又不断回归主线的,由此分别构成了它整体的荒诞和细节的充实与真实。在现实与荒诞之间,人性的自然形态成了沟通二者的纽带,在文本的客观分析上也成了由叙事起点到叙事目标的发展动力。在这样一类作品中,叙事特征的意义是大于故事本身的。
Story is the main carrier of the meaning of the novel, but its purpose is greater than the story. The starting point, development motivation, and goal of the novel should not be limited solely by the standards of the story. Sometimes the absurdity of the novel and the non-logical narration can achieve the meaning of literature. For Kafka’s “castle,” the starting point of the narrative is to evade the logic of reality. The unstable and narrative process is continuously lost and continuously returned to the main line, thus constituting the enrichment and truth of its overall absurdity and detail, respectively . Between reality and absurdity, the natural form of human nature has become a link between the two, and in the objective analysis of the text has also become the driving force of development from the starting point of narration to the narrative goal. In such a genre, the meaning of narrative features is greater than the story itself.