本文關(guān)鍵詞： 時間性 因果性 故事 敘述 語言　出處：《華東師范大學》2015年碩士論文　論文類型：學位論文

【摘要】：文學敘事情節(jié)中的時間性與因果性,歷來是敘事學關(guān)注的焦點�？v觀迄今為止的相關(guān)研究成果,大多分別就時間性與因果性各自的特征與作用展開闡述,卻尚未出現(xiàn)針對二者相互關(guān)系所展開的比較全面、系統(tǒng)的考察。本文將以此為契機,在認真梳理中西學界關(guān)于時間性與因果性的代表觀點的基礎(chǔ)上,進一步闡釋時間性與因果性在文學敘事情節(jié)中既外在對立、又內(nèi)在統(tǒng)一的辯證關(guān)系,并揭示這一關(guān)系對當代敘事文化提供的啟示意義。在文學敘事情節(jié)中,時間性與因果性的關(guān)系,主要體現(xiàn)為兩個學理層面一一外在的對立與內(nèi)在的統(tǒng)一。就前者而言,時間性的實質(zhì)是在場,它意味著視點對場內(nèi)事物的積極觀看與體驗,因果性的實質(zhì)是離場,它意味著視點將場內(nèi)的觀看成果語言化并獲得反思,兩者呈現(xiàn)出對立的一面。就后者而言,時間性與因果性在文學敘事情節(jié)建構(gòu)中均各有所得與所失,每一方的所失又都能被另一方的所得積極彌補：一方面,作者的在場觀看必然因存在著盲點而無法獲取對事物的全面感知,這是敘事情節(jié)中的時間性之失,唯有離場才能在反思中看清全場,“語言論轉(zhuǎn)向”揭示出語言的不及物特征及其作為意義系統(tǒng)的存在,作為語言化的產(chǎn)物,因果性對場內(nèi)事物加以組織與澄清；另一方面,“語言論轉(zhuǎn)向”又帶出了助長敘述技巧膨脹的消極面,而使“講故事”所受到的關(guān)注壓倒了“故事”本身,這是敘事情節(jié)中的因果性之失,但敘述是一種相對性的行為,它始終是對故事某一角度、某一部分的講述,仍須以尊重故事本身為解釋學前提,因此離場的作者又需要重新積極入場感受,通過場內(nèi)時間性的場面感來平衡故事與敘述的比重。理解時間性與因果性的上述辯證關(guān)系,有助于我們在理論上深化對文學敘事情節(jié)的理解,也有助于我們在創(chuàng)作實踐中建立更為合理的敘事觀念。
[Abstract]:The time and causality in the narrative plot of literature has always been the focus of narratology. However, there has not been a relatively comprehensive and systematic investigation of the relationship between the two. This paper will take this as an opportunity to carefully comb the representative views of time and causality in Chinese and Western academic circles. It further explains the dialectical relationship between temporal and causality in literary narrative plot, which is both external opposition and internal unity, and reveals the enlightening significance of this relationship to contemporary narrative culture. The relationship between temporality and causality is mainly embodied in the external opposition and internal unity of two theoretical levels. In the former, the essence of temporality is presence. It means the positive viewing and experience of the field of view, the essence of causality is to leave the field, it means that the view of the viewing results of the field of language and reflection, the two show the opposite side, as far as the latter is concerned. Time and causality have their own gains and losses in the construction of literary narrative plot, and the loss of each side can be positively compensated by the other party's income: on the one hand. Because of the blind spot, the author can not obtain the overall perception of things. This is the loss of time in the narrative plot. Only when he leaves the scene can he see the whole audience clearly in the reflection. Linguistic turn reveals the intransitive features of language and its existence as a system of meaning. As a product of language causality organizes and clarifies things in the field. On the other hand, "linguistic turn" also brings out the negative side that encourages the expansion of narrative skills, and makes the attention of "storytelling" overwhelm the "story" itself, which is the causal loss in the narrative plot. But narration is a kind of relativistic behavior, it is always a certain angle of the story, a part of the narration, still must respect the story itself as the hermeneutics premise, therefore leaves the scene author needs to re-actively enter the feeling. It is helpful for us to deepen our understanding of the narrative plot in theory by balancing the proportion of story and narration through the sense of scene in the field and understanding the dialectical relationship between temporal and causality. It also helps us to establish a more rational narrative concept in our creative practice.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：I106

【共引文獻】

相關(guān)期刊論文 前10條

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本文編號：1472489