敘述者的元小說操控

前言

　　認知詩學(xué)是一門新興的學(xué)科，其肇始于20世紀認知科學(xué)尤其是認知語言學(xué)的新發(fā)展，既延續(xù)了20世紀文學(xué)批評對文本本身的關(guān)注，又融人了21世紀人文科學(xué)研究對人類思維過程的重視。北京大學(xué)出版社出版的梁曉暉博士的專著《敘述者的元小說操控：（法國中尉的女人）的認知詩學(xué)研究》對這一新的研究領(lǐng)域進行了較為全面的論述?！　∥鞣綄W(xué)者介紹認知詩學(xué)理論的著作以及應(yīng)用這些理論分析文學(xué)作品選段的文章和論文集始見于上世紀80年代。中國學(xué)者對認知詩學(xué)的研究近年來也有了長足的發(fā)展，許多學(xué)術(shù)期刊辟有專欄刊登應(yīng)用認知詩學(xué)的某一理論分析文學(xué)作品的文章。梁曉暉博士的專著整合并使用一系列認知詩學(xué)的理論，較為全面地分析一部完整的文學(xué)作品，可說是填補了一個空白?！　W(xué)術(shù)界對認知詩學(xué)有兩種理解。一種認為它等同于認知文體學(xué)，因為在具體分析過程中二者都是從認知的角度對文學(xué)作品的語言予以關(guān)注。另一種認為認知詩學(xué)是文學(xué)理論的一個分支。在具體分析過程中，認知詩學(xué)與認知文體學(xué)都是以文學(xué)語篇的語料為基礎(chǔ)，把認知科學(xué)的工具與文學(xué)批評、語言學(xué)等傳統(tǒng)學(xué)科的工具相結(jié)合，具有實證性，并強調(diào)人的認知維度。在此基礎(chǔ)之上，認知詩學(xué)還強調(diào)自身的理論性，并在分析實踐中關(guān)注情感，美感甚至社會層面的分析?！　×簳詴煵┦康膶Ｖ扔袑碚摰纳钊胩接懀钟邢鑼嵉奈谋痉治?。書中主要論述并應(yīng)用了三個認知詩學(xué)的理論：“文本世界理論”，“認知指示語理論”，“概念隱喻理論”。“文本世界理論”適用于分析一部小說中不同層次的空間或世界的建構(gòu)，“認知指示語理論”是針對語篇中指示定位及指示轉(zhuǎn)換的理論，“概念隱喻理論”幫助觀察作品中不同隱喻表達背后的概念隱喻。

內(nèi)容概要

　　《法國中尉的女人》是英國后現(xiàn)代作家約翰·福爾斯的代表作。現(xiàn)有評論大多針對其內(nèi)容及主題，而很少涉及小說文本的語言機制以及敘述者操控元小說的具體技巧。梁曉暉編著的《敘述者的元小說操控——<法國中尉的女人>的認知詩學(xué)研究》運用認知詩學(xué)的理論分析這部元小說中的語言及文本機制：從而對這部作品中敘述者的技巧從新的角度進行探討?！稊⑹稣叩脑≌f操控——<法國中尉的女人>的認知詩學(xué)研究》指出，敘述者對這部元小說的操控主要表現(xiàn)在以下三個方面：敘述者的顯性存在、頻繁的指示轉(zhuǎn)換以及貫穿全文的隱喻陛思維和隱喻性語言；而“文本世界理論”、“認知指示語理論”和“概念隱喻理論”能夠揭示出敘述者在以上三個方面的技巧運用。本書對“文本世界理論”進行了修正，并以上述三個認知詩學(xué)理論為框架具體探討了《法國中尉的女人》中敘述者對元小說的操控。本書對認知詩學(xué)、認知文體學(xué)以及文學(xué)評論等方面的研究有一定的參考價值。

作者簡介

　　梁曉暉，清華大學(xué)外語系英語語言文學(xué)專業(yè)博士?，F(xiàn)為國際關(guān)系學(xué)院英語系副教授，碩士生導(dǎo)師。英國東安格利亞大學(xué)英語學(xué)院、利茲大學(xué)英語學(xué)院訪問學(xué)者，中國文體學(xué)研究會會員。在《中國外語》、《外國語文》、Norwich Papers Studies in Translation（英國）等國內(nèi)外學(xué)術(shù)期刊上發(fā)表有關(guān)文體學(xué)、英語閱讀理論的中英文論文十余篇，出版教材《全新英語讀寫一體化教程--閱讀與寫作》及譯著等多部。學(xué)術(shù)研究方向：英語文體學(xué)、閱讀與寫作策略。

書籍目錄

序
前言
Abstract
Chapter 1 Introduction
Chapter 2 Literature Review
Chapter 3 Theoretical Description and Analytical Framework
Chapter 4 qhe Narrator's Unique Presence：Prominence of
Quasi—discourse World in FLW
Chapter 5 The Narrator's Control of Perception：Deictic Shifts
across A1l the Worlds of FLW
Chapter 6 The Narrator's Expression of Attitudes：Conceptual
Metaphors beyond Different Worlds in FLW
Chapter 7 Conclusion
Bibliography

章節(jié)摘錄

　　In summary， "the changed attitude to time" involves the conceptualmetaphor 'riME is SPACE which firstly refers to the freedom in traveling acrosstime both forwards and backwards， and secondly to the new concept of time-compression.Here the priority of time in the novel is reaffirmed by the narrator's keystatement that "what would have astounded him was the changed attitude to time itself". At this stage， it is more apparent that time is one of the cores of the narrator's concerns. It can be found in this section that， though FLW isnot a novel in content about time， with its absurd arrangement of narrationallo wing the objects of different ages to appear on the same stage and at the same time highlighting the time-compression conception， time is a significantconcept to help us enter the world ofthis novel.Next I am going to summarize the phenomenological view of time astextually reflected in FLW. Firstly， time is believed to have two directions andto be able to flow either forwards or backwards. Even when it flows for wards，it may skip a period of time， allowing things belonging to one particularperiod to jump into another. Secondly， time can be condensed to an extremely short span， as short as being just in the present， as quickly passing by as a flash.In the first case， time is not flowing in a single direction w:ith the past，the present and lastly the future going in a linear sequence. Instead， peoplecan enter time at any point as if it is a room， or follow the passage of time both forwards from the past to the present or the future， and backwards from the future to the present or the past. In this way， time begins to contain the feature of space and encourages us to map metaphorically from space to time.This is the first sense of the 'nME is SPACE metaphor.This sense is actually connected with the notion of the present of the past and that of the past of the present or the present of the future discussed in the last chapter. When time flows forwards or espeaally jumps from a past time span to a present time span， the present will carry the trace of the past，creating the notion of the present of the past. Or alternatively， when time flows backwards， the past may carry the influence of the present or the present may be framed by its future， creating the notion of the past of the present or of the present of the future. That is， when riME is SPACE， time can be traveled in any direction in people's conceptualization， people can skip from the past to the present instead of allowing time flowing gradually， forming the notion of the present of the past; or people can go from the present back to the pastor from the future back to the present， fornung the notion of the past of the present or of the present of the future.　　In the second sense， time is not like what people originally think，flowing by regardless of anyone's intervention. Rather， it can be condensedIike a physical object which assumes a spatial existence， or in Currie's term "aspatialised block' （2007:　17）， which imbues the TIME IS SPACE metaphor with its second sense， This sense is in line with the notion of the perpetual presentdiscussed in the last chapter， with the present time always there in people'sconceptualization.Here is the message of the narrator's possible title for an essay: Humanbeing's existence for a phenomenologist is not following a linear sequence as in the real time， rather it presents a horizontal state in people's conception.Thus， for the narrator， anything with its development along a temporaldimension is horizontal， since time itself is horizontally extending， in stead of developing vertically. Time goes backwards as well as forwards and it can be condensed to a single point. Therefore， the possible title for FLW "On the Horizontality of Existence" actually implies the existence of the LIME is SPACEmetaphor， a metaphor wluch is going to be echoed by Charles' observationthat "time is a room".6，2.2　 Charles' Metaphorical Thinking on Time In the previous part， it is discussed that the conceptual metaphor TIMEIS SPACE underlies the narrator's comments and his arrangement of the story in the quasi-discourse world. In this part， considerations will be given to the conceptual metaphor at the level of the text world， involving mainly the characteriation of the hero Charles， and at the level of the sub-world， beingconnected with the unique mental process of the character as reflected by hisspeech， thought or other types of considerations on the other hand.It will be exhibited at the end that the thematic structure along the conception of time not only organizes the narrator's quasi-discourse world，but also threads up the characteriation of the text world and verbal or mental process of the sub-world， thus binding the characters' text world and sub-world with the narrator's quasi-discourse world together.　　To define Charles， the narrator reminds us again and again that Charles'thought is connected with the existentialist thinking， though the term is not coined at the character's time. Thus Charles can be found to hold the phenomenological existentialist view of time following Sartre. For example，when Charles goes to the Undercliff for fossils， he is amazed by the beauty in natural scenes and， in the appreaation of nature， becomes aware of the culturallimitation of his age. Here the modern term "existentialist" is brought in to show on the one hand that Charles has surpassed his contemporaries　　in detecting the inadequacies of the approach of his time to nature and on the other hand that he could not depict clearly his own feeling without the modern existentialist philosophy. "After all， he was a Victorian. We could no texpect him to see what we are only just beginning-and with so much moreknowledge and the lessons of existentialist philosophy at our disposal-torealize ourselves: that the desire to hold and the desire to enjoy are mutuallydestructive" （63）.Charles' trans-age awareness of existentialism and his confusion for lack of existential terms are exhibited more clearly in his should-have-beenlast meeting with Sarah at the Undercliff. While waiting for Sarah who， beingdriven out of Mrs. Poulteney's home， is cleaning herselfinside the barn in the morning， Charles stands outside of the barn to consider Sarah's state. Charlessees two sides of Sarah and cannot decide which side is sincere.　　……

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