小說是一門敘述的藝術(shù),敘述方式的巧妙與否直接關(guān)系到作品的藝術(shù)魅力。而敘述視角是小說敘述技巧的一種慣用形式,法國作家福樓拜（Gustave Flaubert）與美國作家亨利·詹姆斯（Henry James）注重其在小說中的運用并以此作為調(diào)節(jié)敘述距離的重要工具。二十世紀(jì)六十年代,隨著敘述學(xué)和小說文體學(xué)的興起,小說的敘述視角成為敘述學(xué)和文體學(xué)的研究重合點。但是這兩個學(xué)科對視角的研究重點頗為不同:敘述學(xué)者著重分析不同視角本質(zhì)性的特征及其對視角的分類;而文體學(xué)家則對語言選擇感興趣,注重語言表達(dá)形式的特征,其中主要包括詞匯、句型、標(biāo)點、人稱、時態(tài)等。從敘述學(xué)角度來看,視角起著調(diào)節(jié)敘述信息和距離的作用;從文體學(xué)角度來看,視角體現(xiàn)敘述者在敘述時通過文字表達(dá)流露出的立場觀點、語氣口吻等。前者直接作用于敘述結(jié)構(gòu),后者通過語言特色間接作用于敘述事件。本文旨在兼采兩家之長,以文體學(xué)理論為指導(dǎo),借鑒國外敘述學(xué)家和國內(nèi)敘述學(xué)家對敘述技巧的研究成果,汲取國內(nèi)外專家對海明威的精當(dāng)評述,對海明威長短篇小說的聚焦模式進(jìn)行分析、綜合、比較、歸納,力圖發(fā)現(xiàn)海明威作品中未被發(fā)現(xiàn)的長短篇小說聚焦模式的不同,以豐富海明威研究,讓讀... 

【文章來源】：福州大學(xué)福建省211工程院校

【文章頁數(shù)】：87 頁

【學(xué)位級別】：碩士

【文章目錄】：
Acknowledgements
中文摘要
Abstract
中文提要
Synopsis
Introduction
Chapter 1 How to Interpret Fiction?
    1.1 A Brief Introduction to Fiction Interpretation
    1.2 Stylistic Approach to Fiction Interpretation
    1.3 Narratological Approach to Fiction Interpretation
    1.4 Why Are Both Stylisticians and Narratologists Interested in Narrative Point of View?
    1.5 Definitions of Narrative Point of View
    1.6 The General Role of Narrative Point of View in Fiction Interpretation
Chapter 2 Classification of Point of View
    2.1 Classification of Point of View
        2.1.1 Traditional Classification of Point of View
        2.1.2 Modern Classification of Point of View
            2.1.2.1 Narrative Point of View and Narrative Voice
            2.1.2.2 Friedman’s Classification of Point of View
            2.1.2.3 Genette’s Classification of Point of View
        2.1.3 Why Do We Use ‘Focalization’Instead of ‘Point of View’in This Thesis?
    2.2 Modes of Speech Presentation and Focalization
        2.2.1 Direct Speech (DS)
        2.2.2 Indirect Speech (IS)
        2.2.3 Free Direct Speech (FDS)
        2.2.4 Free Indirect Speech (FIS)
        2.2.5 Narrative Report of Speech Act (NRSA)
    2.3 Nature and Literary Function of Modes of Focalization
        2.3.1 Nature and Literary Function of Zero Focalization
        2.3.2 Nature and Literary Function of Internal Focalization
        2.3.3 Nature and Literary Function of External Focalization
    2.4 Shift and Transgression of Mode of Focalization
    2.5 Modes of Focalization and Stylistic Effects
Chapter 3 Analysis of Modes of Focalization in Hemingway’s Fiction
    3.1 A Brief Introduction to Hemingway’s Style
    3.2 Analysis of the Modes of Focalization and Their Stylistic Effects in Hemingway’s Two Novels
        3.2.1 A Narratological Stylistic Analysis of A Farewell to Arms
            3.2.1.1 The Theme of A Farewell to Arms
            3.2.1.2 Mode of Focalization in A Farewell to Arms
            3.2.1.3 Shift of Mode of Focalization in A Farewell to Arms
            3.2.1.4 Speech Presentation in A Farewell to Arms
        3.2.2 A Narratological Stylistic Analysis of The Old Man and the Sea
            3.2.2.1 The Theme of The Old Man and the Sea
            3.2.2.2 Mode of Focalization in The Old Man and the Sea
            3.2.2.3 Shift of Mode of Focalization in The Old Man and the Sea
            3.2.2.4 Speech Presentation in The Old Man and the Sea
        3.2.3 Summary
    3.3 Analysis of the Modes of Focalization and Their Stylistic effects in Hemingway’s Three Short Stories
        3.3.1 A Narratological Stylistic Analysis of The Short Happy Life of Francis Macomber
            3.3.1.1 The Theme of The Short Happy Life of Francis Macomber
            3.3.1.2 Mode of Focalization in The Short Happy Life of Francis Macomber
            3.3.1.3 Shift of Mode of Focalization in The Short Happy Life of Francis Macomber
        3.3.2 A Narratological Stylistic Analysis of Indian Camp
            3.3.2.1 The Theme of Indian Camp
            3.3.2.2 Mode of Focalization in Indian Camp
            3.3.2.3 Transgression of Mode of Focalization in Indian Camp
        3.3.3 A Narratological Stylistic Analysis of Hills like White Elephants
            3.3.3.1 The Theme of Hills like White Elephants
            3.3.3.2 Mode of Focalization in Hills like White Elephants
            3.3.3.3 Transgression of Mode of Focalization in Hills like White Elephants
        3.3.4 Summary
    3.4 Conclusion
Chapter 4 Modes of Focalization Compared between Hemingway’s Novels and Short Stories
    4.1 Internal Focalization vs. External Focalization
        4.1.1 Internal Focalization in Hemingway’s Novels
        4.1.2 External Focalization in Hemingway’s Short Stories
    4.2 Focalization on Protagonists vs. Focalization on Minor Characters
        4.2.1 Focalization on Protagonists in Hemingway’s Novels
        4.2.2 Focalization on Minor Characters in Hemingway’s Short Stories
    4.3 Steady Focalization vs. Variable Focalization
        4.3.1 Steady Focalization in Hemingway’s Novels
        4.3.2 Variable Focalization in Hemingway’s Short Stories
    4.4 Summary
Conclusion
Bibliography
個人簡歷與研究成果


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