フランス小説における現在時制の意味と小説世界の構造

法国小说中现在时的含义与小说世界的结构

• 批准号: 07610493
• 负责人: TAGUCHI Noriko
• 金额: $ 1.28万
• 依托单位: KYOTO UNIVERSITY
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1995
• 资助国家: 日本
• 起止时间: 1995 至 1997
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-07610493/
• 关键词: present; narrator; realisme; fiction; 中世フランス語

In the classical period, it was the norm to use the past simple and imperfect tenses for the narrative including the novels, and the present tense which had meant the 'narrator's performance'in Old French and Middle French literature was abolished.The present tense exceptionally admitted was so-called 'historical present'. This use of the present was considered to have the effect to emphasize the suddenness or unexpectedness of the event and to describe the scene vividly.But after the middle of the 19th century, it came into use to write a greater part, if not the whole part of the novel in the present tense, and with the 'Nouveau Roman'in the 20th century, the whole part of the novel in the present tense, and with the 'Nouveau Roman'in the 20th century, the narrative has come the be controlled by the present tense, rather than the classical past tenses.When we try to understand this new hegemony ot the present tense and the reappearance of the narrator in the narrative space, a sugges … More tive case to be examined is that of the narration of the dream. Telling 'dreams'is one of the main topoi since Greek-Latin literature, and it is interesting that almost all of the narrators of the dream is the first person. Even if the novel itself is narrated by the third person (that is to say, by the hetero-diegetic narrator), the dream itself is usually told in the form of direct speech by the personage who had this dream.In the dream telling texts we observe three different registers of the subjectivity : 'dream telling I', 'dreaming I', and 'dreamed I'. These tree subjects can overlap one another in the text, especially 'dream telling I'and 'dreaming I'are likeky to overlap each other. It is in this case that the dream is told in the present tense. The affinity of the dream telling and the present tense can be confirmed by the present tense narration of the oneiric experience by Baudelaire as early as the middle of the 19th century. The subject of this present tense is both the narrator and the dreamer, and this dissolution of the narrator into the experiencer might predict the 20th century's new narrative in the present tense. Less

在古典时期，包括小说在内的叙事中使用一般过去时和不完成时是常态，而在古法语和中古法语文学中表示“叙述者的表演”的现在时被废除了。现在时是所谓的“历史现在时”。现在的这种用法被认为具有强调事件的突然性或意外性并生动地描述场景的效果。但在19世纪中期之后，它开始被用来写大部分，如果不是小说的整个部分，现在时态，在20世纪的《新罗马》中，小说的整个部分都是现在时态，在20世纪的《新罗马》中，叙事开始被现在时态控制，而不是经典的过去时态。当我们试图理解这种现在时的新霸权和叙述者在叙事空间中的再现时，一个更值得研究的例子是梦的叙述。讲述“梦”是自希腊-拉丁文学以来的主要话题之一，有趣的是，几乎所有的梦的叙述者都是第一人称。即使小说本身是由第三人称叙述的（也就是说，由异性叙事的叙述者），梦本身通常是由做过这个梦的人以直接言语的形式讲述的。在讲梦的文本中，我们观察到三种不同的主体性记录：“讲梦的我”、“做梦的我”和“梦见的我”。这三个主题在文本中可能相互重叠，尤其是“dream telling I”和“dreaming I”可能相互重叠。在这种情况下，梦是用现在时讲述的。早在19世纪中期，波德莱尔对梦境体验的现在时叙述就证实了梦境讲述与现在时的亲缘关系。这个现在时的主语既是叙述者又是做梦者，叙述者与体验者的分离可能预示着20世纪现在时的新叙事。少

项目成果

Taguchi, Noriko: ""The Imperfect tense in the novel text"" Bulletin d'Etudes de Linguistique Francaise. No.32. (1998)

田口纪子：“小说文本中的不完美时态”，《法语语言学研究通报》。

田口紀子(共著): "文学をいかに語るか" 新曜社, 560 (1996)

田口纪子（合著者）：《如何谈论文学》新阳社，560（1996）

田口紀子(共著): "象徴主義の光と影" ミネルヴァ書房, 356 (1997)

田口纪子（合著者）：《象征主义的光与影》Minerva Shobo，356（1997）

田口紀子: "小説における半過去(シンポジウム報告要約)" フランス語学研究. 32(印刷中). (1998)

田口纪子：“小说中的半过去（研讨会报告摘要）”法国研究32（出版中）。

田口紀子: "『ボヴァリ-夫人』における語り手の問題" 京都大学文学部紀要. 35. 1-26 (1996)

田口纪子：“《包法利夫人》中的叙述者问题”，京都大学文学院学报，35. 1-26 (1996)。