本文選題：詹姆斯·費(fèi)倫 + 修辭性敘事理論　； 參考：《上海交通大學(xué)》2009年博士論文

【摘要】： 繼“認(rèn)識(shí)論轉(zhuǎn)向”、“語言學(xué)轉(zhuǎn)向”之后,人文科學(xué)又迎來了另一轉(zhuǎn)向——“敘事轉(zhuǎn)向”。(Kreiswirth, 1992, 2005)在瑪麗—?jiǎng)诶铡と鸢?Marie-Laure Ryan, 2007: 22)看來,“過去十五年間,‘人文科學(xué)的敘事轉(zhuǎn)向’已經(jīng)讓位于無處不在的敘事轉(zhuǎn)向(政治、科學(xué)研究、醫(yī)學(xué)、以及認(rèn)知科學(xué)等),很少有詞匯能像敘事及其近義詞故事那樣被廣泛使用,甚至是濫用。”從“人文科學(xué)的敘事轉(zhuǎn)向”到“無處不在的敘事轉(zhuǎn)向,”敘事轉(zhuǎn)向的擴(kuò)張無疑向我們傳遞了這樣的訊息——敘事“這一多層面的研究對(duì)象正成為多種學(xué)科和研究語境的中心論題。”(Herman, 2007a: 4) 自二十世紀(jì)九十年代以降,敘事學(xué)逐漸淡出解構(gòu)主義的陰霾,重新崛起,躍居當(dāng)下文學(xué)研究的一門顯學(xué)。在進(jìn)入后經(jīng)典階段之后,敘事學(xué)更是取得了長(zhǎng)足的發(fā)展,無論是在敘事理論建構(gòu)還是在敘事批評(píng)實(shí)踐方面皆表現(xiàn)出前所未有的旺盛勢(shì)頭。有鑒于此,申丹等論者說:“當(dāng)代是西方有史以來‘?dāng)⑹隆钍苤匾暤臅r(shí)期,也是敘事理論最為發(fā)達(dá)的時(shí)期。”(申丹,韓加明,王麗亞,2005:203)論及經(jīng)典敘事學(xué)的復(fù)興、后經(jīng)典敘事學(xué)的興起以及全球敘事學(xué)研究中心的轉(zhuǎn)移(從法國(guó)移至北美),第三代“芝加哥學(xué)派”的領(lǐng)軍人物、著名的后經(jīng)典修辭性敘事理論家詹姆斯·費(fèi)倫是不得不提的學(xué)術(shù)大家。費(fèi)倫不僅復(fù)活了“芝加哥學(xué)派”,使之發(fā)展到一個(gè)新的歷史階段,同時(shí)更使得敘事學(xué)完成了從經(jīng)典到后經(jīng)典的范式轉(zhuǎn)移,促進(jìn)了敘事學(xué)在北美乃至全球范圍內(nèi)的繁榮。 本論文選取費(fèi)倫的修辭性敘事理論為研究對(duì)象,在對(duì)國(guó)內(nèi)外費(fèi)倫研究加以回顧、梳理的基礎(chǔ)上,以費(fèi)倫提出的六個(gè)修辭原則為基礎(chǔ),重點(diǎn)探討了費(fèi)倫修辭性敘事理論的六個(gè)核心論題:敘事進(jìn)程、人物敘述者、不可靠敘述、敘述聚焦、敘事判斷、敘事倫理等,希圖由此鉤沉費(fèi)倫修辭性敘事理論的建構(gòu)機(jī)制與運(yùn)作方式,掌握其修辭性敘事理論的精髓。與此同時(shí),本論文還比較了費(fèi)倫修辭性敘事理論與經(jīng)典敘事學(xué)以及后經(jīng)典敘事學(xué)其它分支(如認(rèn)知敘事學(xué)、女性主義敘事學(xué)、后殖民主義敘事學(xué))之間的異同,力圖審視費(fèi)倫修辭性敘事理論對(duì)經(jīng)典敘事學(xué)的繼承、超越,探討它與后經(jīng)典敘事學(xué)其它分支之間的排他、互補(bǔ)關(guān)系。本論文的中心旨趣不僅在于系統(tǒng)深入地闡釋費(fèi)倫修辭性敘事理論,剖析其理論“盲點(diǎn)”與“洞見”,澄清當(dāng)今學(xué)界關(guān)于費(fèi)倫修辭性敘事理論的相關(guān)偏誤,推動(dòng)國(guó)內(nèi)外的費(fèi)倫研究,同時(shí)也在于審視經(jīng)典敘事學(xué)的批評(píng)遺產(chǎn),回顧后經(jīng)典敘事學(xué)的發(fā)展歷程,探討后經(jīng)典敘事學(xué)各個(gè)分支之間的排他性與互補(bǔ)性,進(jìn)而為后經(jīng)典敘事學(xué)的良性發(fā)展、為國(guó)內(nèi)敘事理論建構(gòu)和敘事批評(píng)實(shí)踐提供借鑒。 本論文共分八章。第一章為導(dǎo)論部分。本章首先介紹了費(fèi)倫在敘事學(xué)研究領(lǐng)域的杰出成就、卓越貢獻(xiàn)與深遠(yuǎn)影響。在簡(jiǎn)要闡釋費(fèi)倫修辭性敘事理論的主要原則與核心論點(diǎn)的同時(shí),重點(diǎn)對(duì)中西學(xué)界的費(fèi)倫研究進(jìn)行了學(xué)術(shù)史的回顧、梳理與批評(píng)。盡管中外學(xué)界的費(fèi)倫研究取得了不俗的成果,但是也存在一些不容忽視的問題。如:研究層面狹窄,過于重復(fù);流于片斷式的評(píng)介和應(yīng)用,缺乏系統(tǒng)深入的探討;存在誤讀,導(dǎo)致闡釋混亂等。本章結(jié)尾部分還闡明了論文的研究思路與基本框架。 第二章主要討論了費(fèi)倫修辭性敘事理論的第一個(gè)方面——敘事進(jìn)程。如果說費(fèi)倫的修辭性敘事理論是后經(jīng)典敘事學(xué)的一大亮點(diǎn),那么敘事進(jìn)程則是其修辭性敘事理論的亮點(diǎn)。在小說情節(jié)研究史上,無論是傳統(tǒng)的小說理論家,還是經(jīng)典敘事學(xué)家(俄國(guó)形式主義者、法國(guó)結(jié)構(gòu)主義者等),無不忽略了讀者的作用。費(fèi)倫認(rèn)為敘事進(jìn)程是文本動(dòng)力(人物與人物之間以及人物與環(huán)境之間的不穩(wěn)定性)與讀者動(dòng)力(讀者與敘述者、讀者與隱含作者之間的張力)共同作用的結(jié)果。無論是費(fèi)倫對(duì)讀者動(dòng)力的引入,還是費(fèi)倫對(duì)混雜型敘事(抒情敘事和人物畫敘事)進(jìn)程的考察,敘事進(jìn)程理論皆超越了傳統(tǒng)的情節(jié)詩學(xué)。 第三章主要以“人物敘述者”為考察對(duì)象。任何敘事文本皆有敘述者的存在。部分西方論者混淆了敘述者的“不可視性”與敘述者的“不存在性”之間的界限,由此得出了敘事文本可以不具有敘述者的偏誤性論斷。本章在簡(jiǎn)要回顧西方敘事學(xué)界的敘述者研究之余,重點(diǎn)剖析了費(fèi)倫關(guān)于“人物敘述者”的思想與理念。與經(jīng)典敘事學(xué)家不同,費(fèi)倫以敘述者是否參與事件活動(dòng)為基準(zhǔn),把敘述者劃分為“人物敘述者”和“非人物敘述者”兩大基本類型,并在此基礎(chǔ)上探討了人物敘述者的基本類型與功能,驗(yàn)證了“人物敘述”是一門間接交流的藝術(shù)這一重要論點(diǎn)。 第四章聚焦于費(fèi)倫的“不可靠敘述”觀。“不可靠敘述”是當(dāng)下敘事學(xué)研究的一個(gè)熱門話題。在“不可靠敘述”這一論題上,費(fèi)倫一方面重訪了經(jīng)典修辭性敘事學(xué)的精義和要旨,以“敘述者”與“隱含作者”之間的敘述距離為基準(zhǔn),把“不可靠敘述”從原初的兩條軸線(事實(shí)軸、倫理軸)拓展至三條軸線(事實(shí)軸、倫理軸、知識(shí)/感知軸),并在此基礎(chǔ)上深入探討了六種類型的“不可靠敘述”:錯(cuò)誤的報(bào)道、不充分的報(bào)道、錯(cuò)誤的闡釋、不充分的闡釋、錯(cuò)誤的判斷、不充分的判斷。另一方面,費(fèi)倫擺脫了經(jīng)典修辭性敘事學(xué)的束縛和羈絆,以“敘述者”與“作者的讀者”之間的敘述距離為基準(zhǔn),在對(duì)“不可靠敘述”加以再度考量之后,又將其厘定為“疏遠(yuǎn)型不可靠性”和“契約型不可靠性”兩大類別。與此同時(shí),費(fèi)倫還探討了非虛構(gòu)敘事作品中的不可靠性,開拓了不可靠敘述研究的新領(lǐng)域。本章最后還討論了費(fèi)倫的修辭性不可靠敘述觀與認(rèn)知敘事學(xué)的不可靠敘述觀之間的分歧和互補(bǔ),指出了不可靠敘述研究的未來方向。 第五章重點(diǎn)論述了費(fèi)倫的“敘述聚焦”觀。經(jīng)典敘事學(xué)家恪守故事與話語之間的界限,認(rèn)為只有處于故事世界的人物才可以充當(dāng)聚焦者,而敘述者處于話語世界,不能擔(dān)任聚焦者。費(fèi)倫走出了故事與話語之分的教條式囹圄,在挑戰(zhàn)西摩·查特曼、杰拉德·普林斯等人關(guān)于敘述者無法感知、不能充當(dāng)聚焦者這一論點(diǎn)的基礎(chǔ)上,詳細(xì)闡述了敘述者充當(dāng)聚焦者的可能性與效果,并分析了由此產(chǎn)生的雙重聚焦現(xiàn)象,打開了敘述聚焦研究的新進(jìn)路。 第六章著力探討了費(fèi)倫的敘事判斷觀。毫不夸張地說,敘事判斷是費(fèi)倫修辭性敘事理論的一大創(chuàng)舉。本章在論述費(fèi)倫關(guān)于敘事判斷的七個(gè)一般性命題的基礎(chǔ)上,重點(diǎn)梳理分析了敘事判斷的基本類型和運(yùn)作機(jī)制。在費(fèi)倫看來,無論是人物、敘述者、隱含作者還是讀者,都在敘事進(jìn)程中做出多重反應(yīng),這些反應(yīng)可以被大致歸納為三種類型:闡釋判斷、審美判斷、倫理判斷。本章還論述了三種敘事判斷之間的相互關(guān)系以及敘事判斷之于敘事進(jìn)程、敘事性、讀者的閱讀體驗(yàn)等方面的影響。 第七章主要分析了費(fèi)倫的敘事倫理觀。敘事倫理是費(fèi)倫修辭性敘事理論的一項(xiàng)重要內(nèi)容,貫穿其整個(gè)修辭性敘事理論的始終。二十世紀(jì)八九十年代,西方文學(xué)研究出現(xiàn)了令人醒目的“倫理轉(zhuǎn)向”。在此背景下,費(fèi)倫從修辭角度對(duì)敘事倫理做出思考,自在情理之中。但與韋恩·布思為代表的小說修辭研究者、瑪莎·諾斯鮑姆為代表的哲學(xué)研究者、亞當(dāng)·牛頓為代表的敘事研究者有所不同,費(fèi)倫首先提出了修辭性敘事倫理“由內(nèi)而外”的批評(píng)路徑以及“重構(gòu)”與“評(píng)價(jià)”兩個(gè)步驟。在費(fèi)倫看來,敘事倫理主要涉及“被講述者的倫理”、“講述者的倫理”以及“閱讀的倫理”。無論是敘事倫理的重構(gòu)與評(píng)價(jià),還是“被講述者的倫理”、“講述者的倫理”以及“閱讀的倫理”,皆與“倫理取位”密切相關(guān)。本章還分析了敘事倫理在敘事進(jìn)程、不可靠敘述、敘述聚焦、敘事判斷等層面上的運(yùn)作與表現(xiàn)。 第八章是為論文的“結(jié)論”部分。本章總結(jié)了全文的討論要點(diǎn),指出敘事進(jìn)程、人物敘述者、不可靠敘述、敘述聚焦、敘事判斷、敘事倫理等六個(gè)論題構(gòu)成了費(fèi)倫整個(gè)修辭性敘事理論的核心。在某種意義上說,掌握了這六個(gè)論題,就等于掌握了費(fèi)倫修辭性敘事理論的精髓。通過對(duì)這六個(gè)核心論題的考察,不難看出,費(fèi)倫修辭性敘事理論不僅具有動(dòng)態(tài)性、實(shí)踐性、靈活性、開放性等鮮明特征,而且在經(jīng)典敘事學(xué)與后經(jīng)典敘事學(xué)、敘事詩學(xué)與敘事批評(píng)實(shí)踐之間達(dá)到了近乎完美的平衡,是為當(dāng)代西方敘事理論的一個(gè)里程碑。
[Abstract]:Following the "turn of epistemology" and "linguistic turn", the humanities have come to another turn - "narrative turn". (Kreiswirth, 1992, 2005), in Mary Lawler Ryan (Marie-Laure Ryan, 2007: 22), "the narrative turn of human arts in the past fifteen years" has made the omnipresent narrative turn. Politics, scientific research, medicine, and cognitive science, etc., few words can be widely used, even misused, like narrative and synonym stories. "From" the narrative turn of the humanities "to" the omnipresent narrative turn, "the expansion of narrative turn has undoubtedly conveys such a message to us. The subject of research is becoming a central topic in many disciplines and research contexts. "(Herman, 2007a: 4)
Since 1990s, narratology has gradually fade out of the haze of deconstruction, and has risen up and leaped into a study of the present literary study. After entering the classical stage, the Narratology has made great progress, both in the construction of narrative theory and in the practice of narrative criticism. In view of this, Shen Dan and other theorists said: "contemporary is the most important time in the history of the western history and the most developed period of narrative theory." (Shen Dan, Han Jiaming, Wang Liya, 2005:203) on the revival of classical narratology, the rise of classical narratology and the transfer of the center of global narratology (from France to France) North America), the leading figure of the third generation of "Chicago school", the famous post classic rhetorical narration theorist James felon is an academic one, which not only revived the "Chicago school", but also made it to a new historical stage, and also made the Syria learn from classic to classic paradigm shift, It promoted the prosperity of narratology in North America and even in the world.
This thesis chooses Fallon's rhetorical narrative theory as the research object. On the basis of the review of the research on Fallon at home and abroad, based on the six rhetorical principles put forward by Fallon, it focuses on six core topics of the rhetorical narrative theory of Fallon: narrative process, character narrator, unreliable narration, narrative focus and narrative judgment. At the same time, this thesis also compares the rhetorical narrative theory with the classical narratology and the other branches of the post classic narratology (such as Cognitive Narratology, feminist narratology, postcolonization). The similarities and differences between the people's doctrine narratology, trying to examine the succession and Transcendence of Fallon's rhetorical narrative theory to the classical narratology, and to explore the complementary relationship between it and the other branches of the post classic narratology. The central purport of this thesis is not only to explain the rhetorical theory of Fallon 'rhetoric, but also to dissect the "blind spot" and "the blind spot" of his theory. "Insight", clarifies the related errors of the rhetorical narrative theory in the contemporary academic circles, and promotes the study of the Valun at home and abroad. At the same time, it also examines the Critical Heritage of classical narratology, reviews the development course of the classical narratology after the review, and probes into the exclusiveness and complementarity between the various branches of the classical narratology, and then to the post classic narratology. Benign development provides reference for the construction of domestic narrative theory and practice of narrative criticism.
This chapter is divided into eight chapters. The first chapter is an introduction. First, this chapter introduces the outstanding achievements, outstanding contribution and far-reaching influence in the field of narratology. At the same time, it gives a brief explanation of the main principles and core arguments of Fallon's rhetorical narrative theory, and focuses on the review of the academic history of the study of the Chinese and Western academics. In spite of the great achievements made in the study of the Chinese and foreign scholars, there are also some problems that can not be ignored. For example, the research level is narrow and overrepeated; it is a fragmentary review and application, the lack of systematic and in-depth discussion; the existence of misreading, and the confusion of interpretation. The end part of this chapter also clarifies the research ideas and basis of the thesis. This framework.
The second chapter mainly discusses the first aspect of Fallon's rhetorical narrative theory, the narrative process. If the rhetorical narrative theory of Fallon is a major highlight of the post classic narratology, then the narrative process is the highlight of its rhetorical narrative theory. The effect of the narrative process is the result of the interaction of the power of text (between characters and characters and the instability between the characters and the environment) and the power of the reader (the tension between the reader and narrator and the reader and the implied author). The introduction of Helen to the reader's power, or the investigation of the process of confounding narrative (Lyric narrative and figure painting), and the theory of narrative process surpassed the traditional plot poetics.
The third chapter mainly focuses on the "character narrator". Any narrative text has the narrator's existence. Some western theorists confuse the boundary between the narrator's "non visibility" and the narrator's "non existence", and thus the narrative text can not have the narrator's error. This chapter briefly reviews the West. Apart from the narrator's research in the circle of narratology, it focuses on the thought and idea of "the character narrator". Unlike the classic narrator, he divides the narrator into two basic types of "character narrator" and "non character narrator" on the basis of whether the narrator participates in the event activity. The basic types and functions of character narrators have verified the important argument that "character narration" is an art of indirect communication.
The fourth chapter focuses on Fallon's "unreliable narration". "Unreliable narration" is a hot topic in the present study of narratology. On the subject of "unreliable narration", he revisited the essence and keynote of classical rhetorical narratology on the one hand, based on the narrative distance between "narrator" and "implied author". "Unreliable narration" extends from the original two axes (factual axis, ethical axis) to three axes (factual axis, ethical axis, knowledge / perception axis), and on this basis explores six types of "unreliable narration": false reports, inadequate reporting, incorrect interpretation, inadequate interpretation, false judgment, and inadequate judgment. On the other hand, Falun gets rid of the shackles and fetters of the classic rhetorical narratology, based on the narrative distance between the narrator and the reader of the author. After reviewing the "unreliable narration" again, it is defined as the two categories of "distant unreliability" and "contract type unreliability". At the time, he also explored the unreliability of the non fiction narrative and opened up a new field of unreliable narrative research. Finally, this chapter also discusses the differences and complementarities between the rhetorical unreliable narration and the unreliable narration of Cognitive Narratology, and points out the future direction of the unreliable narrative study.
The fifth chapter focuses on the "narrative focus" view of felon. The classic narrator scrupulously abides by the boundary between the story and the discourse. It is believed that only the characters in the story world can serve as the focus, and the narrator is in the discourse world and can not be the focus. Chatman, Gerard Prince and others, on the basis of the argument that the narrator is unable to perceive and act as a focus, elaborate on the possibility and effect of the narrator as the focus of the narrator, and analyses the phenomenon of the double focus resulting from the narrator, and opens a new approach to the study of the narrative focus.
The sixth chapter focuses on the narration of Fallon's narrative judgment. It is no exaggeration to say that narrative judgment is a great initiative of Fallon's rhetorical narrative theory. On the basis of seven general propositions of Fallon's narrative judgment, this chapter focuses on the basic types and operating mechanism of narrative judgment. The narrator, the implied author or the reader, makes multiple reactions in the narrative process. These reactions can be roughly summed up in three types: Interpretation judgment, aesthetic judgment, and ethical judgment. This chapter also discusses the relationship between the three narrative judgments and the narrative judgment in the narrative process, the narration, the reader's reading experience and so on. Influence.
The seventh chapter mainly analyzes the narrative ethics of Fallon. Narrative ethics is an important part of the rhetorical narrative theory of Fallon. It runs through the whole rhetorical narrative theory. In 80s and 90s twentieth Century, the western literature research appeared an awakening "Ethical Turn". In this context, Fallon made a rhetorical perspective to the narrative. But with Wayne Booth as the representative of the rhetorical researchers, Martha North Baum as the representative of the philosophical researchers, and Adam Newton as the representative of the narrative researchers, he first proposed the rhetorical narrative ethics "from inside and outside" critical path and "Reconstruction" and "evaluation". Two steps. In the view of Fallon, narrative ethics mainly involves "the ethics of the narrator", "the ethics of the narrator" and "the ethics of reading". Whether it is the reconstruction and evaluation of the narrative ethics, or the ethics of the narrator, the ethics of the narrator and the ethics of reading, it is closely related to the "ethical withdrawal". The chapter also analyzes the operation and performance of narrative ethics in narrative process, unreliable narration, narrative focus, narrative judgment and so on.
The eighth chapter is the "conclusion" part of the paper. This chapter summarizes the main points of the full text. It points out that the narrative process, the narrator, the unreliable narration, the narrative focus, the narrative judgment, the narrative ethics, etc. constitute the core of the whole rhetorical narrative theory of Fallon. In a sense, the mastery of the six topics is equal to the mastery of the six topics. The essence of Fallon's rhetorical narrative theory, through the investigation of the six core topics, it is not difficult to see that the rhetorical narrative theory of Fallon is not only dynamic, practical, flexible and open, but also has reached an almost perfect balance between the classic narratology and the post classic narratology, the narrative poetics and the narrative criticism practice. Heng is a milestone in the contemporary western narrative theory.

【學(xué)位授予單位】：上海交通大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2009
【分類號(hào)】：I04

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