發(fā)布時(shí)間：2018-06-03 16:21

  本文選題：元小說(shuō) + 普遍元意識(shí)　； 參考：《學(xué)術(shù)論壇》2016年04期

【摘要】：元小說(shuō)的"自反性"并不是對(duì)某具體敘述行為的反思,而是對(duì)敘述的認(rèn)知過(guò)程的反思。任何小說(shuō)都可能有元意識(shí),但是只有當(dāng)元敘述部分打破常規(guī)設(shè)定的時(shí)候,元敘述才因引起注意而被推向前臺(tái)。因元敘述部分和故事部分的紀(jì)實(shí)性和虛構(gòu)性的不同搭配,元小說(shuō)可分為紀(jì)實(shí)型敘述、諷喻型敘述、暴露型敘述、游戲型敘述四類,前兩類被視為常規(guī)敘述,后兩類被視為元小說(shuō)。元小說(shuō)是小說(shuō)認(rèn)知轉(zhuǎn)向的結(jié)果,具有典型的后現(xiàn)代特征。元小說(shuō)不僅建構(gòu)可能世界和虛構(gòu)世界,而且建構(gòu)自身。它的意義在于啟發(fā)我們關(guān)注我們所在的世界是如何被建構(gòu)起來(lái)的,從而開(kāi)拓了一個(gè)新的認(rèn)知模式。
[Abstract]:The reflexivity of metafiction is not a reflection on a specific narrative behavior, but a reflection on the cognitive process of narration. Any novel may have meta-consciousness, but only when the meta-narrative part breaks the conventional setting can the meta-narrative be pushed forward for attention. Due to the different collocation of the documentary and fictional parts of the Yuan narrative part and the story part, the meta-novel can be divided into four categories: the documentary narrative, the allegorical narrative, the exposed narrative and the playful narrative. The first two types are regarded as conventional narration. The latter two categories are regarded as metafictions. Metafiction is the result of novel cognitive turn and has typical postmodern features. Metafiction not only constructs the possible world and fictional world, but also constructs itself. Its significance is to inspire us to focus on how our world is constructed, thus opening up a new cognitive model.
【作者單位】： 四川師范大學(xué)文學(xué)院;
【分類號(hào)】：I106.4

【相似文獻(xiàn)】

相關(guān)期刊論文 前3條

1 鄧秋峰;;解讀《押沙龍,押沙龍!》的多元敘述藝術(shù)[J];短篇小說(shuō)(原創(chuàng)版);2012年12期

2 仲米磊;;《朗讀者》:鑿向多元敘述的利斧——小說(shuō)敘事藝術(shù)探微[J];閱讀與寫(xiě)作;2010年10期

3 ;[J];;年期

相關(guān)碩士學(xué)位論文 前2條

1 陳國(guó)女;中西小說(shuō)中的元敘述[D];江西師范大學(xué);2009年

2 高暢;多重?cái)⑹碌镊攘D];浙江師范大學(xué);2013年

，

本文編號(hào)：1973419