摘要
自19世纪20年代脂砚斋本《红楼梦》被学术界发现并刊行后,对于读者而言,小说《红楼梦》的文本阅读空间较之以前通行的百二十回本,便发生了一定的变化。脂批从叙事和评点两个层面共同重塑了小说《红楼梦》的阅读空间,形成了一定程度上的近乎第一人称或第三人称内在焦点式的叙事效果,这是之前广泛流传的程本系列所未尝具备的,带有了一定的自叙传色彩,不过,与严格意义上的自叙传小说相比较,脂本《红楼梦》虽在某些情节的叙述处,采取了第一人称限制叙事,但这种叙事的使用,是相当有限度的;而评点在强化第一人称叙事者时,由于叙事者指称的混乱,也很难保持内焦式叙事者的一致性。更何况,文本还有大量的全知叙事与之并存,这些都影响了小说的自叙传的有效性。
The perspective to read Hongloumeng based on the general 120 chapters edition had been changed to some degree since the Zhiyanzhai edition came out in 1820s. How to read Hongloumeng had been reconstructed in the Zhiyanzhai edition from the narrative and annotative aspects by the lust person's or the third person's narrative perspectives which never happened in the gen- eral 120 chapters edition. However, the Zhiyanzhai version is not an autobiographical fiction even it has some autobiographical characteristics because it could hardly keep communality on narration of the whole novel.
出处
《南开学报(哲学社会科学版)》
CSSCI
北大核心
2008年第5期81-89,共9页
Nankai Journal:Philosophy,Literature and Social Science Edition
基金
天津市艺术科学规划项目(D0601-013)
关键词
脂砚斋
文本阅读空间
石头
自叙传
Zhiyanzhai
The Perspective of Reading
Stone
Autobiographical Fiction