本文關(guān)鍵詞：動(dòng)態(tài)情景觀(guān)——“情景框架理論”下讀者對(duì)《小世界》中情景意義的建構(gòu)　出處：《西安外國(guó)語(yǔ)大學(xué)學(xué)報(bào)》2017年01期 　論文類(lèi)型：期刊論文

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【摘要】：情景的重要性根據(jù)小說(shuō)不同而不同。結(jié)構(gòu)主義敘事學(xué)認(rèn)為情景是從屬于母題的靜態(tài)描寫(xiě),而在各種文學(xué)思潮和實(shí)驗(yàn)寫(xiě)法盛行的20世紀(jì)文壇,這一說(shuō)法無(wú)疑具有很大局限性。本文認(rèn)為情景在小說(shuō)中是動(dòng)態(tài)的,并以戴維·洛奇代表作《小世界》為個(gè)案研究其情景的動(dòng)態(tài)性。文章以"情景框架理論"為基礎(chǔ),展示原型情景框架和典型情景框架如何借助讀者"普通知識(shí)"與"文本特定知識(shí)"之間的沖突、"典型文本知識(shí)結(jié)構(gòu)"與"文本特定知識(shí)"之間的沖突和"文本特定知識(shí)"內(nèi)部的沖突動(dòng)態(tài)建構(gòu)《小世界》中虛幻情景的意義、氣候情景的意義、物品情景的意義和冒險(xiǎn)情景的意義。最終小說(shuō)通過(guò)情景的動(dòng)態(tài)性達(dá)到對(duì)整個(gè)場(chǎng)景、整部作品、甚至整個(gè)時(shí)代的廣義的反諷。
[Abstract]:The importance of the situation varies according to the different novels. Structuralist narratology holds that scenario is subordinate to the static description of motif, but in the twentieth Century literary world, which is prevalent in all kinds of literary trend and experimental writing, this statement is undoubtedly very limited. This article holds that the situation is dynamic in the novel and studies the dynamic situation of the situation by the case of David Rocky's representative "small world". On the basis of the situational frame theory, frame and typical scene scene display prototype framework how to help readers "common knowledge" and "text specific knowledge", "the conflict between the typical text knowledge structure" and "text specific knowledge" and the conflict between the "text specific knowledge" the conflict of the dynamic construction of "small world" in the unreal scenario meaning, climate significance, situation and significance of article adventures significance. The final novel is ironical in the broad sense of the whole scene, the whole work, and even the whole time through the dynamic of the scene.
【作者單位】： 西北政法大學(xué)外國(guó)語(yǔ)學(xué)院;
【基金】：教育部人文社會(huì)科學(xué)研究青年基金項(xiàng)目“認(rèn)知詩(shī)學(xué)視閾下《小世界》中浪漫傳奇的原型研究”(項(xiàng)目編號(hào):15YJC752016)的部分成果
【分類(lèi)號(hào)】：I561.074
【正文快照】： 1.引言《小世界》作為英國(guó)當(dāng)代作家戴維·洛奇的代表作,自出版以來(lái)就受到學(xué)界的廣泛關(guān)注,對(duì)其研究涉及小說(shuō)的體裁、敘事手法、主題、人物、反諷等方面。但對(duì)于小說(shuō)中的情景研究卻幾乎無(wú)人涉及。情景自古以來(lái)在文學(xué)作品中就充當(dāng)重要作用。正如L.G.Kirszner(2006:171)等所述:“，

本文編號(hào)：1347422