Narrated perception revisited: The case of Jane Austen’s Emma
Narrated perception revisited: The case of Jane Austen’s Emma
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重温叙事感知：简·奥斯丁笔下的艾玛的案例
DOI：
10.1177/0963947011435862
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发表时间：
2012
影响因子：
0.7
通讯作者：
Elena Pallarés
中科院分区：
文献类型：
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作者：
Elena Pallarés
简·奥斯汀的《爱玛》（1816年）通常被认为是一个模棱两可和不可靠的叙述角度（莫里尼，2009：53-57;华莱士，1995：77-97）。这些品质通常归因于自由间接话语的广泛使用（Finch and Bowen，1990：5-6; Mezei，1996：72-75）。这篇文章旨在证明另一种叙事技巧也是造成小说模棱两可和不可靠的原因。“叙述知觉”（NP）通过描述一个虚构人物所经历的事件来描绘该人物的感官知觉（Fludernik，1993：305-309）。NP被一些评论家指出是一种独特的叙事技巧，但一般来说，感知被包括在自由间接话语（FID）的更广泛的范畴内，偶尔也作为自由间接思想（FIT）的一个方面。本文认为NP和FID/FIT之间存在一些细微的差异，因此单独检查NP可能是有益的。事实上，NP在形式和功能上常常与纯叙述语相似。作为一个个案研究，本文提出了一个文体分析的数量包含NP在爱玛，不典型的功能在FID/FIT的研究。分析提供了文本证据：（1）艾玛的感官知觉存在于看似叙述的内容中，（2）知觉，思想和情感之间的密切联系，以及（3）在某些情况下区分知觉和叙述的困难，这表明NP有可能误导读者，因为它把后来被证明是艾玛错误的事实呈现为一个看似客观的事实考核
Jane Austen’s Emma (1816) is generally considered an ambiguous and unreliable narrative in terms of point of view (Morini, 2009: 53–57; Wallace, 1995: 77–97). These qualities are often attributed to the extensive use of free indirect discourse (Finch and Bowen, 1990: 5–6; Mezei, 1996: 72–75). This article aims to demonstrate that another narrative technique is also responsible for the ambiguity and unreliability of the novel. ‘Narrated perception’ (NP) portrays the sensory perceptions of a fictional character by describing events as they are experienced by that character (Fludernik, 1993: 305–309). NP has been pointed out by some critics to be a distinct narrative technique, but in general perception is included within the broader category of free indirect discourse (FID), and occasionally as an aspect of free indirect thought (FIT). This article suggests that there are some subtle differences between NP and FID/FIT, and thus it can be beneficial to examine NP separately. In fact, NP is frequently similar to pure narration in terms of form and function. As a case study, this article presents a stylistic analysis of a number of passages containing NP in Emma which do not typically feature in studies of FID/FIT. The analysis provides textual evidence of (1) the presence of Emma’s sensory perceptions within what looks like narration, (2) the close connection between perception, thought and emotion, and (3) the difficulty of distinguishing between perception and narration in some cases, which suggests the potential of NP to mislead the reader by presenting as a seemingly objective fact what later on turns out to be Emma’s mistaken assessment.
赫尔佐格的风格分析:“后现代复调音乐”的一种模式
DOI：
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发表时间：
2007
期刊：
Language and Literature 16・1
影响因子：
--
作者：
KOBAYASHI;Fumiko;小林 ふみ子;小林 ふみ子;小林 ふみ子;Wout van Bekkum and Naoya Katsumata;寺西 雅之;Masayuki Teranishi
通讯作者：
Masayuki Teranishi