【摘要】：作為美國自然主義文學(xué)的勇敢開拓者，西奧多·德萊塞的自然主義文學(xué)呈現(xiàn)出與傳統(tǒng)文學(xué)截然不同的神采風(fēng)貌，這既源于作家本人的開創(chuàng)精神，又源于作家對自然主義文學(xué)創(chuàng)作技巧的自覺吸收。自然主義文學(xué)奉“真實感”為最高原則，包括外部的客觀“真實”和內(nèi)在的主觀“真實”。本文旨在從“真實”的角度探索德萊塞自然主義文學(xué)的敘事藝術(shù)，主要從敘事話語、敘事結(jié)構(gòu)和敘述視點三個方面進行分析。 一、獨特的敘事話語。德萊塞自然主義文學(xué)獨特的敘事話語主要體現(xiàn)為“非個人化”敘事，即通過運用“非個人化”的敘事技巧和自由間接引語保持作家敘事態(tài)度上的客觀中立，從而實現(xiàn)作品在整體上的“真實感”。這種敘事話語打破了傳統(tǒng)小說過分表露作者本人情感態(tài)度的傾向，使作品呈現(xiàn)出客觀冷靜的風(fēng)格。德萊塞的“非個人化”敘事從兩個方面實現(xiàn)：一是將敘述視角轉(zhuǎn)換，敘事主體隱匿起來，通過調(diào)整敘述人與作品人物之間的距離加強小說的客觀性和真實感，此時敘述人非常隱蔽，可感知度很�。欢谴罅渴褂米杂砷g接引語，將人物話語和敘述人話語緊密結(jié)合，敘述人在故事的發(fā)展進程中并未直接“現(xiàn)身”，而是隱藏其后，讀者找不到敘述人“在場”的痕跡。 二、敘事的“空間性”結(jié)構(gòu)。德萊塞在敘事結(jié)構(gòu)上采用“空間性結(jié)構(gòu)”敘事，摒棄傳統(tǒng)小說中封閉完整的“線性結(jié)構(gòu)”，使傳統(tǒng)小說中的線性物理時間碎裂成為無數(shù)“偶然”的瞬間，隨之而來的細節(jié)之繽紛綻放進一步營造了小說細微之處的“真實”。這種空間主要表現(xiàn)為一種“情境性空間”，即生活情境。生活的橫斷面如繪畫般鋪展開來，，如此設(shè)置帶來的是飽含生活氣息的細節(jié)綻放，必然性被層出不窮的偶然性取代，生命的本真狀態(tài)在文本中客觀地展現(xiàn)出來。 三、敘述視點的“向內(nèi)轉(zhuǎn)”。德萊塞從生理和心理兩個方面描寫“生物的人”，人是本能的載體、遺傳的產(chǎn)兒、環(huán)境的奴隸，表現(xiàn)出一種“類型化”的特征，即源于生理-心理的富有激情的“氣質(zhì)類型”。人物類型又分為兩種：一種是“人蟲”，如赫斯特伍德、克萊德·格里菲斯，他們是個人欲望的犧牲品；另一種是“人獸”，如柯帕烏、嘉莉妹妹、尤金·威特拉，他們是所向無敵的超人。建立在生理分析之上的心理分析使人物的兩種“氣質(zhì)”類型真實可感，隱藏于外在客觀真實之下的內(nèi)在真實通過敘述視點的“內(nèi)轉(zhuǎn)”也得以實現(xiàn)。
[Abstract]:As a brave pioneer of American naturalistic literature, Theodore Dreiser's naturalistic literature presents a very different look from the traditional literature, which originates from the writer's own pioneering spirit. It also stems from the writer's conscious absorption of naturalistic literary creation techniques. Naturalistic literature regards "sense of truth" as the supreme principle, including external objective "reality" and internal subjective "truth". The purpose of this paper is to explore the narrative art of Dreiser's naturalistic literature from the perspective of "reality", mainly from three aspects: narrative discourse, narrative structure and narrative viewpoint. First, the unique narrative discourse. The unique narrative discourse of Dreiser's naturalistic literature is mainly embodied in "impersonal" narrative, that is, through the use of "impersonal" narrative techniques and free indirect quotations to maintain the writer's objective and neutral narrative attitude. In order to achieve the work in the overall "sense of reality." This kind of narrative discourse breaks the tendency of the traditional novel to reveal the author's emotional attitude and makes the novel present an objective and calm style. Dreiser's "impersonal" narration is realized from two aspects: first, the narrative angle of view is changed, the narrative subject is hidden, and the objectivity and realism of the novel are strengthened by adjusting the distance between the narrator and the characters in the works. At this time the narrator is very covert and perceptible; Secondly, a large number of free indirect quotations are used to combine the characters' discourse with the narrator's utterance. The narrator does not "appear" directly in the development of the story, but hides behind it, and the reader can not find the trace of the narrator's "presence". Second, the "spatial" structure of narration. In the narrative structure, Dreiser adopts the "spatial structure" and abandons the closed and complete "linear structure" in the traditional novels, which makes the linear physical time in the traditional novels break up into countless "accidental" moments. The subsequent riotous blooming of details further creates the "truth" of the nuances of the novel. This kind of space is mainly expressed as a kind of "situational space", that is, life situation. The cross section of life is spread out like a painting, which brings the details full of life breath blooming, inevitability is replaced by endless contingency, and the true state of life is objectively displayed in the text. Third, narrate the viewpoint of "turn inward". Dreiser describes "biological man" from two aspects of physiology and psychology. Man is the carrier of instinct, the hereditary infant and the slave of environment, showing a kind of "type" characteristic, that is, the passionate "temperament type" which originates from physiology and psychology. There are two types of characters: one is the "human worms", such as Hurstwood, Clyde Griffith, they are the victim of personal desire; The other, Cowperwood, Sister Carrie, Eugene Weitra, is an invincible superman. The psychological analysis based on physiological analysis makes the two types of "temperament" of the characters realistic, and the inner reality hidden under the external objective reality is realized through the "inner turn" of the narration point of view.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I712.06

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