敘事學(xué)視野下的小說(shuō)情節(jié)
發(fā)布時(shí)間：2018-09-09 08:43
【摘要】： 情節(jié)是敘事文體一個(gè)歷史悠久的基本范疇問(wèn)題，情節(jié)問(wèn)題之所以成其為一個(gè)問(wèn)題，其緣由與核心乃是情節(jié)的概念問(wèn)題以及由此引發(fā)的情節(jié)的地位與評(píng)價(jià)問(wèn)題。情節(jié)是什么?情節(jié)何以成為敘事的核心要素?又何以變得無(wú)足輕重而被廣加撻伐?從作者、文本和讀者的角度如何評(píng)價(jià)情節(jié)?情節(jié)概念從來(lái)就不是一個(gè)靜止的范疇，它并非它看起來(lái)那樣澄明。搞清楚各個(gè)時(shí)期的情節(jié)概念，弄清它們與各個(gè)時(shí)代的文學(xué)思潮和互動(dòng)關(guān)系，重溯情節(jié)演變的歷史，有助于解決目前情節(jié)概念和情節(jié)觀念的混亂與模糊，也將推動(dòng)對(duì)敘事文體的相關(guān)文學(xué)現(xiàn)象的進(jìn)一步考察與研究。本文依據(jù)各種情節(jié)觀出現(xiàn)的先后順序、情節(jié)發(fā)展的歷史線索、各時(shí)期情節(jié)觀的主要思想和特征，在總體的時(shí)間順序下又按照各情節(jié)觀的內(nèi)在特征與相互關(guān)系進(jìn)行多層次的分期分類，試圖從敘事學(xué)的角度，對(duì)小說(shuō)情節(jié)研究的歷史與發(fā)展加以梳理和總結(jié)，溯源別流，對(duì)各個(gè)時(shí)期情節(jié)觀的變異與承續(xù)加以辨析，厘定情節(jié)觀演變的歷史軌跡，反觀或反證各個(gè)時(shí)期的總體文論思想作為大背景對(duì)情節(jié)觀的相關(guān)影響，以簡(jiǎn)史的形式重現(xiàn)情節(jié)研究的歷史與現(xiàn)狀。在此基礎(chǔ)上，進(jìn)行中西情節(jié)觀的比較，辨析中西文論思想中相關(guān)的異同之處，進(jìn)一步把以上結(jié)論運(yùn)用于諸如現(xiàn)代小說(shuō)的情節(jié)淡化傾向等問(wèn)題的探討，嘗試與摸索更有效地解讀當(dāng)前敘事文體的某些相關(guān)問(wèn)題的路徑與方法，則是下一步可以進(jìn)行的工作。 論文主要包括傳統(tǒng)／經(jīng)典情節(jié)觀、形式文論情節(jié)觀、當(dāng)代情節(jié)研究三個(gè)階段四個(gè)部分。論文的開(kāi)頭以小引的形式簡(jiǎn)要介紹了敘事學(xué)的源頭——亞里士多德的悲劇情節(jié)觀，文末附錄對(duì)該問(wèn)題有進(jìn)一步的論述。傳統(tǒng)情節(jié)觀部分以西方傳 統(tǒng)/經(jīng)典情節(jié)觀為主線，以中西情節(jié)觀比較的形式介紹其總體特征，‘即論文的第 一、二章。第一章—弗雷塔格金字塔及傳統(tǒng)情節(jié)諸問(wèn)題，從亞里士多德的悲 劇情節(jié)觀引入傳統(tǒng)的小說(shuō)情節(jié)觀，主要論述三段五環(huán)節(jié)的傳統(tǒng)情節(jié)觀及其基本 問(wèn)題。三段五環(huán)節(jié)的傳統(tǒng)情節(jié)觀在二十世紀(jì)以前，一直被奉為小說(shuō)敘事之圭桌。 從現(xiàn)代主義小一說(shuō)創(chuàng)作開(kāi)始，情節(jié)的作用開(kāi)始淡化，情節(jié)研究的價(jià)值取向也發(fā)生 了變化。為了論述的相對(duì)集中，本文未能論及小一說(shuō)文體的發(fā)展對(duì)敘事情節(jié)的影 響，而是把這一情節(jié)模式作為傳統(tǒng)情節(jié)的普遍規(guī)律加以論述。第二章—情節(jié) 之道與情節(jié)之技，主要論述情節(jié)的核心要素，即情節(jié)中的秩序:因果秩序、時(shí) 間順序、空間順序，并從文化傳統(tǒng)與文化意識(shí)形態(tài)與情節(jié)模式的同構(gòu)性角度， 尋找因果邏輯為核心的敘事順序在敘事文本中的具體表現(xiàn)形式與客觀規(guī)律，通 過(guò)追溯中西情節(jié)觀背后不同的文化傳統(tǒng)及不同的文化意識(shí)形態(tài)，揭示中西情節(jié) 觀的本質(zhì)上的異同。時(shí)間順序與空間順序歸根到底還是一種因果邏輯順序，，而 因果邏輯順序不過(guò)是文化傳統(tǒng)與文化意識(shí)形態(tài)在敘事文本中的具體表現(xiàn)。情節(jié) 之道指的是情節(jié)安排布局的根本原則，對(duì)中西情節(jié)觀的追溯必然要上升到中西 不同的文化傳統(tǒng)、不同的文化意識(shí)形態(tài)上來(lái)，這也是小說(shuō)敘事情節(jié)的根本之道。 情節(jié)之技受情節(jié)之道有形與無(wú)形的影響與控制，體現(xiàn)出不同的特點(diǎn)—這在相 同或相近的題材與主題的不同敘事中表現(xiàn)得尤為明顯。 形式文論情節(jié)觀是論文的第三章，總體上按時(shí)間劃界，各階段則按各情節(jié) 理論的內(nèi)部特征及其關(guān)聯(lián)加以分類。這一部分從敘事學(xué)角度介紹了俄國(guó)形式主 義的“話語(yǔ)”情節(jié)觀，以及結(jié)構(gòu)主義的“故事”層面的情節(jié)，包括“深層”與 “淺層”的情節(jié)結(jié)構(gòu)論，宏觀情節(jié)研究與微觀情節(jié)研究。形式文論情節(jié)觀是敘 事學(xué)情節(jié)觀的理論之源，共同特點(diǎn)是其語(yǔ)言學(xué)取向，其內(nèi)部又存在分歧與差異。 大體上說(shuō)，俄國(guó)形式主義情節(jié)觀更近似于“話語(yǔ)”情節(jié)觀，結(jié)構(gòu)主義情節(jié)觀則 傾向于“故事”層面的情節(jié)—包括“深層”與“淺層”的情節(jié)結(jié)構(gòu)論。 解構(gòu)主義與新敘事學(xué)的復(fù)興以形式主義文論取得的巨大成就為基礎(chǔ)，是形 式主義文論的發(fā)展與延續(xù)，循此思路，末章論述解構(gòu)主義與新敘事學(xué)的小規(guī)模 復(fù)興背景下的情節(jié)觀，探討文化意識(shí)形態(tài)分析與解構(gòu)主義思潮在后現(xiàn)代小說(shuō)批 評(píng)中的作用與意義，分析了后現(xiàn)代小一說(shuō)的情節(jié)特征及其批評(píng)意義。后現(xiàn)代小說(shuō) 中的情節(jié)及其文化意識(shí)形態(tài)分析，與解構(gòu)主義思潮與文化研究的興起直接相關(guān)。 符號(hào)學(xué)與結(jié)構(gòu)主義理論是經(jīng)典敘事學(xué)的立論之基，解構(gòu)主義思潮與結(jié)構(gòu)主義之 }、l、J的斷裂與延續(xù)，對(duì)新敘事學(xué)的發(fā)生與發(fā)展產(chǎn)側(cè)了重大影響。解構(gòu)主義在對(duì)經(jīng) 典敘事學(xué)形成沖擊與挑戰(zhàn)，使之一度陷入低谷的}同時(shí)，也為新敘事學(xué)的復(fù)興帶 來(lái)了無(wú)限生機(jī)。解構(gòu)主義與文化研究是當(dāng)代敘事學(xué)發(fā)展的新方向，新敘事學(xué)不 是對(duì)經(jīng)典敘事學(xué)的簡(jiǎn)單回歸，在把經(jīng)典敘事學(xué)研究置于新的語(yǔ)境，并全面拓展 其研究方法與研究領(lǐng)域。在小說(shuō)情節(jié)研究方面，…其核心觀念體現(xiàn)出多元與動(dòng)態(tài) 的特點(diǎn)。
[Abstract]:The plot is a basic category of narrative style with a long history. The reason and core of the plot problem is the concept of the plot and the status and evaluation of the plot. What is the plot? Why does the plot become the core element of narration? Why does it become unimportant and widely criticized? How to evaluate the plot from the point of view of the author, text and reader? The concept of plot has never been a static category, it is not as clear as it seems. To clarify the concept of plot in different periods, to clarify their literary trends and interaction with each era, and to retrace the history of the evolution of the plot will help to solve the current concept of plot and to solve the problem. The confusion and ambiguity of plot concept will also promote the further investigation and study of the related literary phenomena of narrative style.This paper, based on the sequence of occurrence of various plot concepts, the historical clues of plot development, the main ideas and characteristics of plot concepts in different periods, also follows the intrinsic characteristics and mutual relations of the plot concepts in the overall chronological order. Relations are classified in different stages at different levels, trying to sort out and summarize the history and development of the study of novel plots from the perspective of narratology, tracing back to different origins, differentiating the variation and succession of the concept of plot in different periods, defining the historical track of the evolution of the concept of plot, and reflecting or disproving the general literary theory of each period as a background. On this basis, the author compares the Chinese and Western plot views, analyzes the similarities and differences between the Chinese and Western literary theories, and further applies the above conclusions to the discussion of such problems as the tendency of plot dilution in modern novels, and tries to find a more effective way to understand them. Reading the path and method of some related problems in the narrative style is the next step.
The thesis mainly consists of three stages: the traditional/classical plot view, the formal literary plot view and the contemporary plot study. At the beginning of the paper, Aristotle's tragic plot view, which is the origin of narratology, is briefly introduced in the form of a small quotation. The appendix at the end of the paper further discusses this issue.
With the unified / classical plot view as the main line, this paper introduces its general characteristics in the form of comparison between Chinese and Western plot view,'that is, the first one of the papers.
Chapter one and chapter two. Chapter 1 - the problems of Aristotle and his traditional tragedies in Pyramid
The plot concept introduces the traditional plot view of the novel. It mainly discusses the traditional plot view of the three five rings and its basic principles.
The traditional plot view of the three five rings has been regarded as the Guixi table of the novel before twentieth Century.
Starting from the creation of modernism, the function of plot began to weaken, and the value orientation of plot research also occurred.
In order to discuss the relative concentration, this paper fails to discuss the influence of the development of the style of Xiaoyi on the narrative plot.
Ring, but the pattern of the plot as a general rule of the traditional plot to be discussed. The second chapter - plot
The technique of Tao and plot mainly deals with the core elements of the plot, that is, the order in the plot: the order of cause and effect.
From the perspective of isomorphism between cultural tradition and cultural ideology and plot pattern,
Looking for the concrete form and objective law of narrative order in the narrative text with causal logic as the core.
Tracing back to the different cultural traditions and different cultural ideology behind the Chinese and Western plots, revealing the western and Chinese plots.
The order of time and the order of space are, in the final analysis, a causal logic sequence.
The logical sequence of cause and effect is only the specific manifestation of cultural tradition and cultural ideology in narrative texts.
Dao Dao is the fundamental principle of plot arrangement, and the retroactivity of Chinese and Western plots must rise to the West.
Different cultural traditions and different cultural ideologies are also the fundamental way to plot plots.
The plot is influenced by and controlled by the visible and invisible elements of the plot.
The same or similar themes and themes in different narratives are particularly evident.
The concept of plot theory is the third chapter of the thesis. In general, the plot is delimiting according to time.
The internal characteristics of the theory and its relevance are classified. This part introduces the Russian form masters from the perspective of narratology.
The plot of "Discourse" and the plot of "story" at structuralism include "deep" and "deep".
"Shallow" plot structure theory, macro plot research and micro plot research.
The source of the theory of plot view is its linguistic orientation and its internal differences and differences.
Generally speaking, the Russian formalism plot view is more similar to the "Discourse" plot view and the structuralism plot view.
The plot that tends to "story" level includes the theory of "deep" and "shallow" plot structure.
The revival of deconstruction and new narratology is based on the great achievements made by formalist literary theory.
With the development and continuation of the theory of style, the last chapter discusses the small scale of deconstruction and new narratology.
The concept of plot in the context of revival explores the analysis of cultural ideology and deconstructionism in postmodern fiction.
The function and significance of the criticism are analyzed. The plot characteristics and critical significance of the postmodern novel are analyzed.
The plot and the analysis of cultural ideology are directly related to the trend of deconstruction and the rise of cultural studies.
The theory of semiotics and structuralism is the basis of classical narratology.
}, the rupture and continuity of L and J have a significant impact on the occurrence and development of new narratology.
Canonical narratology formed a shock and challenge, which once plunged into a depression, and at the same time, revived the new narratology.
Deconstruction and cultural research are new directions in the development of contemporary narratology.
It is a simple regression to classical narratology, placing the study of classical narratology in a new context and expanding it in an all-round way.
Its research methods and research fields. Its core concepts reflect pluralism and dynamics.
Characteristics.
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I054
本文編號(hào)：2231884
[Abstract]:The plot is a basic category of narrative style with a long history. The reason and core of the plot problem is the concept of the plot and the status and evaluation of the plot. What is the plot? Why does the plot become the core element of narration? Why does it become unimportant and widely criticized? How to evaluate the plot from the point of view of the author, text and reader? The concept of plot has never been a static category, it is not as clear as it seems. To clarify the concept of plot in different periods, to clarify their literary trends and interaction with each era, and to retrace the history of the evolution of the plot will help to solve the current concept of plot and to solve the problem. The confusion and ambiguity of plot concept will also promote the further investigation and study of the related literary phenomena of narrative style.This paper, based on the sequence of occurrence of various plot concepts, the historical clues of plot development, the main ideas and characteristics of plot concepts in different periods, also follows the intrinsic characteristics and mutual relations of the plot concepts in the overall chronological order. Relations are classified in different stages at different levels, trying to sort out and summarize the history and development of the study of novel plots from the perspective of narratology, tracing back to different origins, differentiating the variation and succession of the concept of plot in different periods, defining the historical track of the evolution of the concept of plot, and reflecting or disproving the general literary theory of each period as a background. On this basis, the author compares the Chinese and Western plot views, analyzes the similarities and differences between the Chinese and Western literary theories, and further applies the above conclusions to the discussion of such problems as the tendency of plot dilution in modern novels, and tries to find a more effective way to understand them. Reading the path and method of some related problems in the narrative style is the next step.
The thesis mainly consists of three stages: the traditional/classical plot view, the formal literary plot view and the contemporary plot study. At the beginning of the paper, Aristotle's tragic plot view, which is the origin of narratology, is briefly introduced in the form of a small quotation. The appendix at the end of the paper further discusses this issue.
With the unified / classical plot view as the main line, this paper introduces its general characteristics in the form of comparison between Chinese and Western plot view,'that is, the first one of the papers.
Chapter one and chapter two. Chapter 1 - the problems of Aristotle and his traditional tragedies in Pyramid
The plot concept introduces the traditional plot view of the novel. It mainly discusses the traditional plot view of the three five rings and its basic principles.
The traditional plot view of the three five rings has been regarded as the Guixi table of the novel before twentieth Century.
Starting from the creation of modernism, the function of plot began to weaken, and the value orientation of plot research also occurred.
In order to discuss the relative concentration, this paper fails to discuss the influence of the development of the style of Xiaoyi on the narrative plot.
Ring, but the pattern of the plot as a general rule of the traditional plot to be discussed. The second chapter - plot
The technique of Tao and plot mainly deals with the core elements of the plot, that is, the order in the plot: the order of cause and effect.
From the perspective of isomorphism between cultural tradition and cultural ideology and plot pattern,
Looking for the concrete form and objective law of narrative order in the narrative text with causal logic as the core.
Tracing back to the different cultural traditions and different cultural ideology behind the Chinese and Western plots, revealing the western and Chinese plots.
The order of time and the order of space are, in the final analysis, a causal logic sequence.
The logical sequence of cause and effect is only the specific manifestation of cultural tradition and cultural ideology in narrative texts.
Dao Dao is the fundamental principle of plot arrangement, and the retroactivity of Chinese and Western plots must rise to the West.
Different cultural traditions and different cultural ideologies are also the fundamental way to plot plots.
The plot is influenced by and controlled by the visible and invisible elements of the plot.
The same or similar themes and themes in different narratives are particularly evident.
The concept of plot theory is the third chapter of the thesis. In general, the plot is delimiting according to time.
The internal characteristics of the theory and its relevance are classified. This part introduces the Russian form masters from the perspective of narratology.
The plot of "Discourse" and the plot of "story" at structuralism include "deep" and "deep".
"Shallow" plot structure theory, macro plot research and micro plot research.
The source of the theory of plot view is its linguistic orientation and its internal differences and differences.
Generally speaking, the Russian formalism plot view is more similar to the "Discourse" plot view and the structuralism plot view.
The plot that tends to "story" level includes the theory of "deep" and "shallow" plot structure.
The revival of deconstruction and new narratology is based on the great achievements made by formalist literary theory.
With the development and continuation of the theory of style, the last chapter discusses the small scale of deconstruction and new narratology.
The concept of plot in the context of revival explores the analysis of cultural ideology and deconstructionism in postmodern fiction.
The function and significance of the criticism are analyzed. The plot characteristics and critical significance of the postmodern novel are analyzed.
The plot and the analysis of cultural ideology are directly related to the trend of deconstruction and the rise of cultural studies.
The theory of semiotics and structuralism is the basis of classical narratology.
}, the rupture and continuity of L and J have a significant impact on the occurrence and development of new narratology.
Canonical narratology formed a shock and challenge, which once plunged into a depression, and at the same time, revived the new narratology.
Deconstruction and cultural research are new directions in the development of contemporary narratology.
It is a simple regression to classical narratology, placing the study of classical narratology in a new context and expanding it in an all-round way.
Its research methods and research fields. Its core concepts reflect pluralism and dynamics.
Characteristics.
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I054
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 丁雅;《夷堅(jiān)志》的敘事學(xué)研究[D];浙江師范大學(xué);2007年
本文編號(hào)：2231884
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