本文選題：情節(jié)　切入點(diǎn)：敘事　出處：《福建師范大學(xué)》2007年碩士論文　論文類型：學(xué)位論文

【摘要】： 敘事超越文化、國家和歷史，如同空氣一樣充斥于日常經(jīng)驗(yàn)——這也許是當(dāng)今敘事學(xué)領(lǐng)域最為時(shí)髦的陳詞濫調(diào)。然而指出社會文本的敘事性質(zhì)并非難事，也非文學(xué)研究的意義所在，其根本在于指出一種“敘事性”得以構(gòu)建的方式，以及在這一構(gòu)建過程中被突顯被遮蔽的因素。情節(jié)負(fù)責(zé)征服偶然，砍削文本中的駢拇枝指，并賦予文本細(xì)節(jié)以特定意義和道德意圖．情節(jié)的設(shè)置對于“敘事性”至關(guān)重要。 晚近結(jié)構(gòu)主義敘事學(xué)的發(fā)展帶來了探討情節(jié)問題的獨(dú)特技巧，情節(jié)的自身紋理及其內(nèi)部脈絡(luò)得到另一種考察。與傳統(tǒng)的情節(jié)研究重視審美性、主體性相比，結(jié)構(gòu)主義的方法更重視情節(jié)的內(nèi)部紋理及其書寫語法。其中，一種歷史主義的苗頭已經(jīng)出現(xiàn)：它既可以對情節(jié)進(jìn)行條分縷析，又可從情節(jié)細(xì)部研究走向文化分析，敘事成規(guī)的發(fā)掘是從形式到歷史、從語言到話語的發(fā)軔之處。 情節(jié)，并非一個(gè)自明的本質(zhì)主義概念，敘事理論的內(nèi)部也并非鐵板一塊。實(shí)際上，情節(jié)概念之上積滿了學(xué)術(shù)之銹。由于情節(jié)被分別置于“故事”和“話語”的層面被言說，，同一能指在不同語境下呈現(xiàn)出不同的所指和有效性。譜系既明，便可對情節(jié)的內(nèi)部和外部進(jìn)行考察，如情節(jié)的語法、情節(jié)與人物與真實(shí)的關(guān)系，以及情節(jié)為何沒落，沒落之后的命運(yùn)如何等等。情節(jié)設(shè)置對于生存可能性維度的開拓力度，是衡量它在敘事實(shí)驗(yàn)中之地位的重要尺度。
[Abstract]:Narration transcends culture, country and history, and is as full of everyday experience as air-perhaps the most fashionable cliche in narratology today. However, it is not difficult to point out the narrative nature of social texts. Nor is it the significance of literary research, which basically lies in pointing out a way in which "narrative" can be constructed, and the factors that have been highlighted in the process of construction. The plot is responsible for conquering chance and cutting the parallel hallux finger in the text. And give the text details with specific meaning and moral intention. The setting of plot is very important for narrative. The recent development of structuralism narratology has brought a unique skill to discuss the plot problem, the texture of the plot and its internal context have been investigated in another way. Compared with the traditional plot study, it pays more attention to aesthetics and subjectivity. The structuralist approach pays more attention to the internal texture of the plot and its writing grammar. Among them, a kind of historicism has emerged: it can not only analyze the plot in succession, but also move from the detailed study of the plot to the cultural analysis. The excavation of narrative rules is from form to history, from language to discourse. Plot is not a self-evident concept of essentialism, nor is the interior of narrative theory monolithic. In fact, the concept of plot is full of academic rust. The same signifier presents different references and validity in different contexts. If the genealogy is clear, it can examine the internal and external aspects of the plot, such as the grammar of the plot, the relationship between the plot and the character and the truth, and why the plot fails, What is the fate after the fall and so on. The development of the dimension of survival possibility is an important measure to measure its position in the narrative experiment.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I04

【引證文獻(xiàn)】

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2 李鵬飛;網(wǎng)民集群行為中的怨恨心態(tài)探究[D];福建師范大學(xué);2011年

本文編號：1588869