摘要
"叙述距离"自英国学者布斯1956年提出以来已经得到学术界的普遍认可,同时也得到学者们的普遍应用。但不是所有的学者都认识到了叙述距离的审美本质,他们往往把距离与视点、声音、时空、人称和节奏等小说的一般叙事技巧平行看待。而实质上,叙述距离并非一般的叙述技巧,它是小说叙事在修辞上追求的美学目标,视点、声音、时空、人称和节奏等一般叙事技巧都是作为叙事工具直接为小说的距离控制服务的。叙述距离与一般叙事技巧之间是目的与手段的关系。
Narrative distance has received universal recognition in academic field since it was advanced by Booth in 1956,when it began to be widely applied by scholars. Yet regretfully the artistic essence of narrative distance has not been fully recognized. Distance is usually regarded as something parallel to ordinary narrative techniques such as perspective,voice,time and space,person and rhythm etc. But in essence,narrative distance is not normal narrative technique; it is the aesthetic goal pursued by fictional narration in rhetoric. Perspective,voice,time and space,person and rhythm,which belong to common narrative techniques,function as narrative tools to directly control the distance in fiction. The relation between narrative distance and normal narrative techniques is that between end and means.
出处
《外国文学》
CSSCI
北大核心
2010年第3期102-109,共8页
Foreign Literature
基金
山西省教育厅科研项目<西方叙事学范畴研究>(200733024)
