庫(kù)爾特·馮內(nèi)古特(1922—)是一位對(duì)當(dāng)代美國(guó)文壇影響深遠(yuǎn)但又倍受文學(xué)評(píng)論家爭(zhēng)議的作家。近年來(lái),涌現(xiàn)了許多關(guān)于馮內(nèi)古特的評(píng)論文章,越來(lái)越多的批評(píng)家們開(kāi)始認(rèn)識(shí)到,有必要對(duì)他和他的作品做更全面、細(xì)致的研究。特別是他的第六本小說(shuō),也是他的藝術(shù)顛峰之作:《五號(hào)屠場(chǎng)》(1969年)。這部小說(shuō)是一部杰出的美國(guó)后現(xiàn)代文學(xué)作品,它與約瑟夫·海勒的《二十二條軍規(guī)》以及托馬斯·品欽的《萬(wàn)有引力之虹》一同被公認(rèn)為是黑色幽默的代表作。 雖然有很多批評(píng)家注意到了作品內(nèi)容的豐富性和深刻性以及小說(shuō)敘述形式的獨(dú)到和怪異,但很少有人把兩者結(jié)合起來(lái),考慮敘事技巧的使用對(duì)挖掘主題意義的獨(dú)特作用。因此,本論文以馮內(nèi)古特的代表作《五號(hào)屠場(chǎng)》作為研究文本,以小說(shuō)創(chuàng)作時(shí)所處的六十年代的美國(guó)作為歷史語(yǔ)境,運(yùn)用熱奈特、里蒙凱南的敘事學(xué)理論和敘事學(xué)原理對(duì)小說(shuō)文本中出現(xiàn)的反傳統(tǒng)敘事技巧進(jìn)行細(xì)讀和分析。 小說(shuō)中雖然有大量的反常的敘事技巧,但小說(shuō)作者對(duì)敘述順序、敘述者以及敘事層次這三個(gè)方面的反傳統(tǒng)的偏離顯然是為了更好地服務(wù)于主題,也更好地表達(dá)了作者的意圖。在熱奈特和里蒙凱南的理論指導(dǎo)下,論文首先分析了小說(shuō)混亂的敘述順序。小說(shuō)反傳統(tǒng)地采用了一種...

【文章頁(yè)數(shù)】：91 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
ABSTRACT
摘要
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
CHAPTER ONE INTRODUCTION
    1.1 Rationale of the present study
    1.2 Aim of the research
    1.3 Research methodology
    1.4 Structure of the thesis
CHAPTER TWO LITERATURE REVIEWS
    2.1 An introduction to the author and the novel
        2.1.1 The author Kurt Vonnegut
        2.1.2 The novel Slaughterhouse-Five
        2.1.3 The social background
    2.2 The previous researches on Slaughterhouse-Five
        2.2.1 The outcomes of the previous researches
        2.2.2 The insufficiencies of the previous researches
    2.3 Summary
CHAPTER THREE THEORETICAL FRAMEWORKS
    3.1 Introduction of narratology
    3.2 Gerard Genette's theory of narratology
    3.3 Rimmon-Kenan's theory of narrator
    3.4 Summary
CHAPTER FOUR DISORDERED NARRATIVE SEQUENCE
    4.1 Traditional narrative sequence
    4.2 Jumbled chronological sequence
        4.2.1 The Tralfamadorian schizophrenic manner
        4.2.2 Fragmental plot
        4.2.3 Spatial linear-time
        4.2.4 The unstuck Tralfamadorian concept of time
    4.3 Circular narrative sequence
        4.3.1 Circular nature of Slaughterhouse-Five
        4.3.2 Kurt Vonnegut's Yon Yonson cycle
        4.3.3 Billy's circular experiences
    4.4 Summary
CHAPTER FIVE DOUBLE IDENTITIES OF THE NARRATOR
    5.1 Kurt Vonnegut as the homodiegetic narrator witnessing the Dresden event
        5.1.1 Attesting to the authenticity of the Dresden event
        5.1.2 Fictionalizing the historical accounts
    5.2 Kurt Vonnegut as the extradiegetic narrator narrating the Dresden event
        5.2.1 Blurring the boundary between the fact and the fiction
        5.2.2 Holding a distance from the Dresden event
        5.2.3 Emphasizing the fatalism to accept the death
    5.3 Summary
CHAPTER SIX THREE-PLY NARRATIVE LEVELS
    6.1 Billy's world and the Tralfamadorian world
        6.1.1 The creator and his imagination
        6.1.2 The gospeler and the gospel consolation
    6.2 Vonnegut's world and Billy's world
        6.2.1 The traumatized prototype and his therapeutic alter ego
        6.2.2 The fictionalized history and the historical fiction
        6.2.3 Ambiguous belief and morality
    6.3 Summary
CHAPTER SEVEN CONCLUSION
    7.1 Findings of the thesis
    7.2 Limitations of the present research
    7.3 Suggestions for further studies
BIBLIOGRAPHY



本文編號(hào)：3762154