动态情景观——“情景框架理论”下读者对《小世界》中情景意义的建构

On Dynamic Setting——Reader's Meaning Construing Processes of Small World's Settings under the Contextual Frame Theory

情景的重要性根据小说不同而不同。结构主义叙事学认为情景是从属于母题的静态描写,而在各种文学思潮和实验写法盛行的20世纪文坛,这一说法无疑具有很大局限性。本文认为情景在小说中是动态的,并以戴维·洛奇代表作《小世界》为个案研究其情景的动态性。文章以"情景框架理论"为基础,展示原型情景框架和典型情景框架如何借助读者"普通知识"与"文本特定知识"之间的冲突、"典型文本知识结构"与"文本特定知识"之间的冲突和"文本特定知识"内部的冲突动态建构《小世界》中虚幻情景的意义、气候情景的意义、物品情景的意义和冒险情景的意义。最终小说通过情景的动态性达到对整个场景、整部作品、甚至整个时代的广义的反讽。

The importance of setting varies from fiction to fiction. Structuralists hold that setting is subjective to motif and static description. However, in the twentieth century literary circle, with different literary theories and prevailing experimentalist writings, the statement has its great limitations. This paper argues that setting is dynamic in fiction, and illustrates its dynamic feature by studying David Lodge＇ s Small World. Based on Emmott＇ s ＂contextual frame theory＂, this paper shows how protosettings and prime-settings construct the meanings of Small World＇s illusive settings, weather settings, object settings and adventurous settings by conflicts between readers＇ ＂general knowledge＂ and ＂text-specific knowledge of a particular fictional world＂, between ＂knowledge of typical text structures＂ and ＂text-specific knowledge of a particular fictional world＂, and within ＂text-specific knowledge of a particular fictional world＂. Finally, the novel realizes its irony to the whole settings, to the novel itself, and to its times.