發(fā)布時(shí)間：2018-11-12 18:30

【摘要】：作為文學(xué)經(jīng)典和宗教經(jīng)典的《圣經(jīng)》由66卷書(shū)構(gòu)成,其中以人名命名的有40卷。作為《圣經(jīng)》中僅兩卷以女性名字命名的書(shū)卷之一,《以斯帖記》從成書(shū)之日起就受到讀者關(guān)注。特別是近二、三十年,眾多學(xué)者就其正統(tǒng)地位、歷史性、體裁、寫(xiě)作目的、組織結(jié)構(gòu)、宗教意義及寫(xiě)作風(fēng)格展開(kāi)了熱烈討論。 本文運(yùn)用西蒙·巴埃弗拉特的圣經(jīng)敘事理論,從敘事者、人物塑造以及情節(jié)三個(gè)敘事元素入手,探討《以斯帖記》的敘事藝術(shù)。除緒論和結(jié)論外,本文共分為三章。第一章側(cè)重考察《以斯帖記》敘事者的無(wú)所不能,這主要體現(xiàn)在敘事者的全知以及現(xiàn)身方式兩個(gè)方面。敘事者不僅能在不同人物、場(chǎng)景之間自由變換并對(duì)人的內(nèi)心活動(dòng)進(jìn)行窺視,還能根據(jù)文本需要公開(kāi)或隱藏自己。第二章探討《以斯帖記》的人物塑造。敘事者巧妙運(yùn)用了直接人物塑造與間接人物塑造這兩種手法,生動(dòng)刻畫(huà)了以斯帖、亞哈隨魯王、哈曼和末底改這四個(gè)人物；第三章通過(guò)對(duì)《以斯帖記》情節(jié)的分析,展示以斯帖故事之?dāng)⑹碌莫?dú)特性。以斯帖故事的情節(jié)主要包括兩個(gè)核心事件以及圍繞核心事件組織的一系列對(duì)稱(chēng)排列的場(chǎng)景；在情節(jié)的發(fā)展階段,敘事者使用了巧合與戲劇反諷來(lái)構(gòu)建情節(jié)。從某種程度上看,本文對(duì)《以斯帖記》獨(dú)特的敘事藝術(shù)的探索不僅有助于讀者更好地理解以斯帖故事,也能為《以斯帖記》敘事技巧乃至《圣經(jīng)》敘事藝術(shù)的研究略盡綿薄之力。
[Abstract]:The Bible, as a literary and religious classic, consists of 66 volumes, 40 of which are named after a person. As one of only two volumes of the Bible named after a woman, Esther has been watched by readers since it was written. Especially in the past 20 to 30 years, many scholars have carried out a heated discussion on their orthodox position, history, genre, writing purpose, organizational structure, religious significance and writing style. This paper discusses the narrative art of Esther from three narrative elements: narrator, character shaping and plot. In addition to the introduction and conclusions, this paper is divided into three chapters. The first chapter focuses on the omnipotence of the narrator in Esther, which is mainly reflected in the full knowledge of the narrator and the way of appearance. Narrators not only can freely change between different characters and scenes and peep at people's inner activities, but also can open or hide themselves according to the need of text. The second chapter discusses the characterization of Esther. The narrator skillfully uses both direct and indirect characters to portray Esther, King Ahasuerus, Haman and Mordecai. Chapter three shows the uniqueness of Esther's narration by analyzing the plot of Esther. The plot of Esther's story mainly includes two core events and a series of symmetrically arranged scenes organized around the core events. In the development stage of the plot the narrator uses coincidence and dramatic irony to construct the plot. To a certain extent, the exploration of the unique narrative art of Esther is not only helpful for readers to better understand Esther's story. It can also contribute a little bit to the study of the narrative techniques of Esther and the art of Bible narration.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I106.99

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉意青;簡(jiǎn)約、含蓄的《圣經(jīng)》敘事藝術(shù)[J];外國(guó)文學(xué);2001年01期

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本文編號(hào)：2327872