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Synchronic and Diachronic Study on the Narrative Structure of Homodiegetic Fictions

同叙事小说叙事结构的共时与历时研究

基本信息

批准号：
14510538
负责人：
ENDO Kenichi
金额：
$ 1.34万
依托单位：
TOHOKU-GAKUIN UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2002
资助国家：
日本
起止时间：
2002 至 2003
项目状态：
已结题

项目摘要

The aims of this study are (1) to propose a synchronic model for describing narrative situations, which can cover possible homodiegetic fictions, and (2) to circumscribe the transformation of the narrative structure of pre-modern homodiegetic fictions to that of post-modern ones.(1) Our model is intended as a typology for homodeigetic narrative situations, which is a compromise between Stanzel (1979; 1982) and Genette (1973; 1982), with due attention to O'Neill's remark that "the storyis presented -transformed into the narrative text -through a double mediation, namely a 'voice' that 'speaks' and 'eyes' that 'see'(O'Neill 1984, 85). It consists of these four articulating categories: (a) the category of the locus of narrative communication; (b) that of voices that speak, (c) that of eyes that see, or that of focalization, and (d) that of relationships between narrator 'I' and character 'I', which is, above all, of significance.(2) By means of the fourth category, we recognize that pre-modern homodiegetic narratives, which assume the forms of autobiography, travel writing, journal, or epistle, are apt to establish some solid relationships between narrator 'I' and character 'I' that affirms the reliability of narration. In post-modern homodiegetic narratives, on the other hand, we find such relationships abandoned on purpose, which phenomenon should not be treated as the problem of narrative reliability but as that of the transformation of the conception of "subject".

本研究的目的是：(1)提出一个可涵盖可能的同质叙事小说的叙事情境共时性模型；(2)界定前现代同质叙事小说的叙事结构向后现代叙事结构的转变。(1)我们的模型旨在作为同质叙事情境的类型化，这是Stanzel（1979; 1982）和Genette（1973; 1982）之间的妥协，并适当注意到奥尼尔的评论，“故事通过双重中介呈现-转化为叙事文本，即‘说话’的‘声音’和‘看’的‘眼睛’（O’neill 1984, 85）。”它由以下四个表达类别组成：(a)叙事传播场所类别；(b)说话的声音，(c)看东西的眼睛，或聚焦的眼睛，以及(d)叙述者“我”和角色“我”之间的关系，这首先是有意义的。(2)通过第四类，我们认识到，前现代的同叙事叙事，采用自传、旅行写作、日记或书信的形式，倾向于在叙述者“我”和角色“我”之间建立一些稳固的关系，从而肯定了叙事的可靠性。而在后现代同叙事叙事中，我们发现这种关系被有意抛弃，这种现象不应被视为叙事可靠性问题，而应被视为“主体”概念的转换问题。