【作者】 张晓平；

【导师】 邱仪；

【作者基本信息】 广西师范大学 ， 英语语言文学， 2006， 硕士

【副题名】从叙事“话语”看《了不起的盖茨比》

【摘要】 叙事学作为一门学科还比较年轻,属于以小说为主的叙事文学的理论。在当今西方叙事理论中,叙事作品一般被分为两个对应的层次,即“故事”与“话语”。叙事作品的意义在很大程度上源于这两个层次的相互作用。“故事”指按实际时间、因果关系排列的事件;“话语”指对这些素材的艺术处理或形式上的加工。不同于文体学研究的“语言”,叙事学的“话语”几乎涵盖了作者表达故事内容时以不同方式所采用的所有技巧。这些技巧对事件(“故事”)所产生的效果都有不同程度的影响,因而在文本分析中占有举足轻重的地位。堪称现代小说艺术之楷模的《了不起的盖茨比》为我们提供了学习和研究叙事学理论的广阔的实践空间。本文旨在运用叙事学原理,从叙事“话语”角度切入,探讨作品的叙述技巧、模式和深层结构及含义,以体现作者菲茨杰拉德的匠心独运。叙事视角对于作者叙述故事、给予信息以及读者接受信息至关重要,它直接关系着故事进展及读者反应的顺利、积极与否。《了不起的盖茨比》选用第一人称见证人尼克作为主要叙述者,使得叙述直接生动。通过他的观察、参与和内省,读者即可领悟到作者的创作主旨和寄予的情感。然而他的性格又决定了叙述客观理性的一面。二者之间的差异恰好构成了文本的张力。然而,对于自己不曾经历的事件,为了情节发展的需要,这时出现了叙述者的变换,尼克也由叙述的中心转移到边缘,暂时让位于故事事件的目击者。尼克作为第一人称叙述者时,他的眼光也有着交替变化,时而以追忆往事的眼光叙述(叙述自我),时而以过去正在经历事件的眼光叙述(经验自我),后者产生了很强的正在体验事件的效果。此外,当展现人物内心活动对表达主题有非常重要的意义时,叙述者就有必要暂时超越自己的叙述权限对其进行描述,此时即发生了“视角越界”现象。文本中的叙述由主次叙述层、多种声音构成,它们代表各自独立的思想意识,避免了单一叙述的乏味,从而构建了一个多元的格局。文本还蕴含着很多原型意义,如盖茨比的梦想实际是“美国梦”的个人体现、整个故事的发展又遵循弗莱的四季轮回模式,等等。虽然小说的情节看似平淡无奇,但作者却打破了读者的期待视野,将盖茨比的身世、经历和最终命运进行了“陌生化”处理,产生了很强的落差效果。作者即是通过对以上三方面独特的安排构建出了一个有机的叙事模式。此外,作者还有效地调整了叙述运动的节奏和速度,使文本打破了线性发展的模式,有目的性地再现场景、突出重点。小说中很多细节都富有深意,代表着一种精神追求或某种时代印记,是作者独特缜密的安排,值得欣赏和挖掘。本文聚焦于《了不起的盖茨比》中的叙事“话语”层次,分析了其诸多“话语”技巧对构建主题、表达思想所产生的积极效应,由此对运用叙事学原理分析文本做出了尝试性理解,以期对叙事学实践意义的深入和完善有所帮助。更多还原

【Abstract】 Being a young and developing subject, narratology is the theory and systematic study of narrative. In western narrative theories, a narrative work is usually divided into two corresponding levels, that is,“story”and“discourse”whose interaction contributes to the realization of the narrative work’s profound meaning.“Story”refers to the events abiding by the chronological order or causality, and“discourse”refers to the artistic treatment of these materials. Different from the“language”in stylistic field, the“narrative discourse”covers almost all the narrative skills employed by the author to tell a story, including point of view, narrative pattern, arrangement of time order, duration and frequency of events, mood, narrative voice, and so on. Closely connected with the effect the event (“story”) exerts, these forms of“discourse”occupy an extremely crucial position in text-analysis. The Great Gatsby, which is commonly set as a model for modern art of novels, supplies us an enormous practical space to study and exercise the theory of narratology. This paper attempts to inquire into the narrative skills and pattern as well as the deep narrative structure of the classic, from the perspective of narrative discourse, in order to reveal Fitzgerald’s unparalleled ingenuity in handling artistic techniques. Being crucial for the author to tell stories and the readers to acquire information, the point of view directly relates to the extent the story develops and the readers’response goes. The Great Gatsby adopts Nick as“first-person witness,”resulting in the two sides of narration, that is, directness and vividness but objectivity and rationalization, the latter being determined by Nick’s personality. The discrepancy between the two constitutes exactly the text’s tension. However, to those events Nick has not experienced, it is necessary for him to transfer from the center of the narration to the outside and resign his authority to the direct witness. As the first-person narrator, Nick also changes his perspective, sometimes on recollecting the past and sometimes on experiencing the events at that moment, and the latter giving birth to the striking effect. In addition, if it is significant to reveal the characters’inner activities, the narrator will be privileged to exceed his authority, penetrating into the characters’inner worlds and reporting. This is the so-called“transgression.”Constructed by the main and secondary levels, the text contains various narrative voices, which speak for their respective independent consciousness, and thus, the dullness of mono-narration is avoided and a pluralistic pattern takes shape. The text is abundant of更多还原