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  本文選題：赫爾曼·麥爾維爾　切入點：《白鯨》　出處：《中南大學》2012年碩士論文　論文類型：學位論文

【摘要】：《白鯨》被公認為是“美國的民族史詩”,是美國作家赫爾曼·麥爾維爾的一部經(jīng)典作品。因其異乎傳統(tǒng)的敘事結(jié)構(gòu),多重的敘事視角以及絢麗,龐雜的語言風格而備受讀者和研究者的關(guān)注。本文在細讀文本的基礎上,以什克洛夫斯基的陌生化理論為指導,探討《白鯨》中敘事技巧的陌生化效果。 1916年,俄國形式主義者什克洛夫斯基提出了陌生化理論,他認為陌生化在文學作品中的一切表現(xiàn)形式,都不是對現(xiàn)實的嚴格的模仿,正確的反應或再現(xiàn),而是一種有意識的偏離,創(chuàng)造或者變形、異化。在《白鯨》中,陌生化手法主要表現(xiàn)在延宕的敘事結(jié)構(gòu),獨特的敘事視角以及詩意般的語言三個方面。 本文由五個部分構(gòu)成,導論部分主要介紹赫爾曼·麥爾維爾的生平及其作品研究現(xiàn)狀,以及本論文的研究意義,并簡述什克洛夫斯基的陌生化理論。第一章從反傳統(tǒng)的敘事結(jié)構(gòu)入手,分析文本中獨特的時空建構(gòu)以及樹型結(jié)構(gòu)。這種結(jié)構(gòu)在故事內(nèi)容和讀者之間設置了障礙,增加了讀者對《白鯨》藝術(shù)形式的感受難度,從而實現(xiàn)了結(jié)構(gòu)上的陌生化。第二章主要結(jié)合熱拉爾·熱奈特的聚焦理論,從零聚焦,內(nèi)聚集和外聚焦的視角來探討《白鯨》中的多重敘事視角的轉(zhuǎn)化,以達到陌生化的藝術(shù)效果。第三章主要解讀小說中敘事語言的陌生化。為打破讀者原有的欣賞習慣和思維模式,文中采用大量戲劇獨白式的語言和象征性的詞語以及修辭手法,一方面增強了作品的可感性,擴展了其語言的審美空間；另一方面,也使小說具有了奇異和新穎的特點。 陌生化手法引導讀者從新的角度去審視和欣賞小說,增強了小說的新鮮感和驚奇感。本文從陌生化理論解讀《白鯨》中敘事技巧,不僅有助于讀者感受作品中新奇的藝術(shù)效果,而且?guī)Ыo讀者全新的審美體驗和內(nèi)心感受,從而為《白鯨》的研究提供一個借鑒。
[Abstract]:The Moby Dick is recognized as "the American National Epic," a classic by the American writer Helman Melville. It's different from the traditional narrative structure, the narrative perspective, and the splendor. On the basis of careful reading of the text and guided by Shiklovsky's theory of defamiliarization, this paper discusses the effect of defamiliarization of narrative techniques in Moby Dick. In 1916, Russian formalist Shklovsky put forward the theory of defamiliarization. He thought that all forms of strangeness in literary works were not strict imitation of reality, correct reaction or reproduction. In Moby Dick, strangeness is mainly manifested in the delayed narrative structure, unique narrative perspective and poetic language. This paper is composed of five parts. The introduction mainly introduces Helman Melville's life and his works, and the significance of this paper. The first chapter begins with the anti-traditional narrative structure, analyzes the unique space-time structure and the tree structure in the text. This structure sets up obstacles between the content of the story and the reader. It makes it more difficult for readers to feel about the art form of Moby Whale, and it's a structural defamiliarization. Chapter two combines Gerald Genett's focus theory with zero focus. To explore the transformation of multiple narrative perspectives in Moby Dick from the perspective of internal aggregation and external focus. In order to achieve the artistic effect of defamiliarization, the third chapter mainly interprets the strangeness of narrative language in the novel. In order to break the readers' original appreciation habits and thinking patterns, a large number of dramatic monologues, symbolic words and rhetorical devices are adopted. On the one hand, it enhances the sensibility of the works and expands the aesthetic space of its language; on the other hand, it also makes the novel have strange and novel features. The defamiliarization technique leads readers to examine and appreciate the novel from a new angle, which enhances the freshness and surprise of the novel. This paper interprets the narrative techniques in Moby Dick from the defamiliarization theory. It not only helps readers to feel the novel artistic effect in the works, but also brings readers a new aesthetic experience and inner feeling, thus providing a reference for the study of Moby Dick.
【學位授予單位】：中南大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I712.074

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本文編號：1580926