發(fā)布時間：2023-03-13 18:24

　　庫爾特·馮內古特(1922—)是一位對當代美國文壇影響深遠但又倍受文學評論家爭議的作家。近年來,涌現(xiàn)了許多關于馮內古特的評論文章,越來越多的批評家們開始認識到,有必要對他和他的作品做更全面、細致的研究。特別是他的第六本小說,也是他的藝術顛峰之作:《五號屠場》(1969年)。這部小說是一部杰出的美國后現(xiàn)代文學作品,它與約瑟夫·海勒的《二十二條軍規(guī)》以及托馬斯·品欽的《萬有引力之虹》一同被公認為是黑色幽默的代表作。 雖然有很多批評家注意到了作品內容的豐富性和深刻性以及小說敘述形式的獨到和怪異,但很少有人把兩者結合起來,考慮敘事技巧的使用對挖掘主題意義的獨特作用。因此,本論文以馮內古特的代表作《五號屠場》作為研究文本,以小說創(chuàng)作時所處的六十年代的美國作為歷史語境,運用熱奈特、里蒙凱南的敘事學理論和敘事學原理對小說文本中出現(xiàn)的反傳統(tǒng)敘事技巧進行細讀和分析。 小說中雖然有大量的反常的敘事技巧,但小說作者對敘述順序、敘述者以及敘事層次這三個方面的反傳統(tǒng)的偏離顯然是為了更好地服務于主題,也更好地表達了作者的意圖。在熱奈特和里蒙凱南的理論指導下,論文首先分析了小說混亂的敘述順序。小說反傳統(tǒng)地采用了一種...

【文章頁數(shù)】：91 頁

【學位級別】：碩士

【文章目錄】：
ABSTRACT
摘要
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
CHAPTER ONE INTRODUCTION
    1.1 Rationale of the present study
    1.2 Aim of the research
    1.3 Research methodology
    1.4 Structure of the thesis
CHAPTER TWO LITERATURE REVIEWS
    2.1 An introduction to the author and the novel
        2.1.1 The author Kurt Vonnegut
        2.1.2 The novel Slaughterhouse-Five
        2.1.3 The social background
    2.2 The previous researches on Slaughterhouse-Five
        2.2.1 The outcomes of the previous researches
        2.2.2 The insufficiencies of the previous researches
    2.3 Summary
CHAPTER THREE THEORETICAL FRAMEWORKS
    3.1 Introduction of narratology
    3.2 Gerard Genette's theory of narratology
    3.3 Rimmon-Kenan's theory of narrator
    3.4 Summary
CHAPTER FOUR DISORDERED NARRATIVE SEQUENCE
    4.1 Traditional narrative sequence
    4.2 Jumbled chronological sequence
        4.2.1 The Tralfamadorian schizophrenic manner
        4.2.2 Fragmental plot
        4.2.3 Spatial linear-time
        4.2.4 The unstuck Tralfamadorian concept of time
    4.3 Circular narrative sequence
        4.3.1 Circular nature of Slaughterhouse-Five
        4.3.2 Kurt Vonnegut's Yon Yonson cycle
        4.3.3 Billy's circular experiences
    4.4 Summary
CHAPTER FIVE DOUBLE IDENTITIES OF THE NARRATOR
    5.1 Kurt Vonnegut as the homodiegetic narrator witnessing the Dresden event
        5.1.1 Attesting to the authenticity of the Dresden event
        5.1.2 Fictionalizing the historical accounts
    5.2 Kurt Vonnegut as the extradiegetic narrator narrating the Dresden event
        5.2.1 Blurring the boundary between the fact and the fiction
        5.2.2 Holding a distance from the Dresden event
        5.2.3 Emphasizing the fatalism to accept the death
    5.3 Summary
CHAPTER SIX THREE-PLY NARRATIVE LEVELS
    6.1 Billy's world and the Tralfamadorian world
        6.1.1 The creator and his imagination
        6.1.2 The gospeler and the gospel consolation
    6.2 Vonnegut's world and Billy's world
        6.2.1 The traumatized prototype and his therapeutic alter ego
        6.2.2 The fictionalized history and the historical fiction
        6.2.3 Ambiguous belief and morality
    6.3 Summary
CHAPTER SEVEN CONCLUSION
    7.1 Findings of the thesis
    7.2 Limitations of the present research
    7.3 Suggestions for further studies
BIBLIOGRAPHY



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