《印度之行》敘事的后現(xiàn)代解讀

前言

　　敘事學(xué)發(fā)展到后現(xiàn)代，已不僅僅是關(guān)于文學(xué)敘事作品里諸如敘述者、敘述視角、人物、情節(jié)等敘事手段的工作原理的學(xué)科，而是擴(kuò)大為包括小說、神話、日記、游記、談話、電影、廣告、戲劇、檔案、訴狀等一切語篇中諸如敘述者、敘述視角、作者、讀者、人物、情節(jié)、聲音、時(shí)間、空間等敘事手段與政治、經(jīng)濟(jì)、文化、法律、道德、倫理、階級、種族、性別等社會(huì)要素之間的互動(dòng)關(guān)系。敘事學(xué)發(fā)展到這個(gè)階段和層次，已經(jīng)不再是一個(gè)單一的學(xué)科了，而是跨越了很多相關(guān)領(lǐng)域的龐大而復(fù)雜的科學(xué)體系。后現(xiàn)代是一個(gè)更加理性、更加人性的時(shí)代。敘事不僅是語言的、詩學(xué)的、美學(xué)的工程，而且也是政治的、經(jīng)濟(jì)的、倫理的、道德的體現(xiàn)。敘事不僅是作者的、敘述者的創(chuàng)造，而且也是讀者的、批評者的成果。后現(xiàn)代敘事理論強(qiáng)化了敘事行為和敘事作品中的人的要素，作者的聲音、敘述者的意志、人物的立場、讀者的經(jīng)歷、批評者的視角共同參與到敘事作品的建構(gòu)和解構(gòu)過程中來，使得敘事作品生動(dòng)、豐富、曲折、耐人尋味，而且也使得敘事作品具有了永無止境的解讀空間?！　∮≌f家愛德華·摩根·福斯特發(fā)表于1924年的《印度之行》，不僅為作者帶來了無與倫比的榮譽(yù)，而且也給世界留下了一個(gè)魅力永恒的謎題。這部小說的魅力到底體現(xiàn)在哪里？小說中的景物描寫那般荒涼沉悶，故事里的人物既非絕代佳人，又非蓋世英雄，情節(jié)樸素簡單，既無殺戮，亦無艷遇，究竟是什么讓幾代讀者對它愛不釋手，潛心鉆研？　　經(jīng)過本人多年的閱讀和思考，對此問題有了一個(gè)臨時(shí)的答案，那就是作者福斯特在這部小說里做了一個(gè)超越時(shí)空的跨越，而且是多維度的跨越，所以才對讀者構(gòu)成了意識(shí)形態(tài)、政治、美學(xué)、種族、階級、性別、詩學(xué)領(lǐng)悟力和承受力的多方挑戰(zhàn)。摩爾夫人與阿德拉的印度之行，不僅是一次遠(yuǎn)涉重洋的跨洲旅行，更是一次民族跨越，是盎格魯人與印度人這兩個(gè)文化淵源迥異的民族進(jìn)行的一次大膽的親密接觸；摩爾夫人、阿德拉、菲爾丁與阿齊茲之間的友誼是兩個(gè)階級（中產(chǎn)階級與勞動(dòng)階級）、兩個(gè)宗教（基督教與伊斯蘭教）的跨越；英國殖民統(tǒng)治印度不可避免地會(huì)發(fā)生東西兩大文明碰撞。這些超乎常人的跨越本身就足以令讀者瞠目結(jié)舌了，不僅如此，福斯特還向我們推出了性別跨越（女性變被動(dòng)為主動(dòng)，闖進(jìn)男性的領(lǐng)地，主動(dòng)出擊，探索性愛的極限，挑戰(zhàn)婚姻的權(quán)威）和政治跨越（殖民者和被殖民者這兩個(gè)地位和利益截然沖突的社會(huì)階層進(jìn)行深層次的接觸和交流，儼然一個(gè)烏托邦式的殖民模式）。

內(nèi)容概要

　　《敘事的后現(xiàn)代解讀》運(yùn)用后現(xiàn)代敘事學(xué)中的政治、文化、宗教、倫理等視角，對20世紀(jì)英國著名作家E.M.福斯特的代表作《印度之行》進(jìn)行敘述視角、敘述結(jié)構(gòu)、情節(jié)、空間等方面的細(xì)致的文本分析解讀?！稊⑹碌暮蟋F(xiàn)代解讀》以一部專著解讀一部小說的方式，在國內(nèi)敘事學(xué)研究領(lǐng)域中較為少見，因而成為同類作品中的顯著者。《敘事的后現(xiàn)代解讀》適合高等院校人文、外語學(xué)科的教師和學(xué)生閱讀。

書籍目錄

　　Introduction　　Chapter 1 Established Criticisms and Remaining Questions　　1.1 Established Criticisms on Forster's A Passage to India　　1.1.1 Criticism in the West　　1.1.2 Criticism in China　　1.2 Remaining Questions about A Passage to India　　　　Chapter 2 Postmodern Narrative Theory　　2.1 Reading as Discovery　　2.2 Interpretation as Multiplicity　　2.3 Narrative as a Socially Symbolic Act　　　　Chapter 3 Point of View and Politics　　3.1 Multiple Points of View and Racial Politics　　3.2 Variable Point of View and Gender Politics　　3.3 External Point of View and Universalism　　3.4 Internal Point of View and Liberal Humanism　　　　Chapter 4 Space and Culture　　4.1 The Mosque and Home of the Soul　　4.2 The Civil Station and English Metropolitan Life　　4.3 The Tennis Lawns and Racial Gap　　4.4 The Maidan and Fellowship　　4.5 Mr.Fielding's Living-Room and Anglo-Indian Utopia　　4.6 Aziz's Bedroom and Brotherhood　　4.7 The Caves and the Primitive Power　　4.8 The Court and Nationalism　　4.9 The Temple and the Secular God　　　　Chapter 5 Narrative Structure and Religious Orientation　　5.1 Fomininity——Masculinity——Birth　　5.2 Union——Dissolution——Union　　5.3 Society——Solitude——Society　　　　Chapter 6 Plot and Ethics　　6.1 Loyalty　　6.2 Responsibility　　6.3 Love， Sex， and Marriage　　Conclusion　　Bibliography　　Acknowledgements

章節(jié)摘錄

　　Question 8：What accounts for the break in Forster'swriting APassage to India？　　E.M.Forster started writing his novel A Passage to India in 1913 soon after his return from the first visit to India，but in June 1914 he abandoned the manuscript for unknown reasons.It was in 1922 when he returned from his second visit to India that he resumed his writing in earnest and completed it in 1924.The progress of Forster's writing the novel made a dramatic scene in England.The public first expected with excitement，but then they began to express worry，or even disappointment.The novel came out just in time to save the public from despair.The novel did not disappoint the anxious readers.It was a big and immediate Success.When the readers were drowned in the pleasure of reading，no one cared about the mysterious break in the writinQ progress·But，is it not a significant question？What happened to him in 1914 that stopped him from writing？Why did he pick up the writing after laying it aside for solong？Did the break produce any influence on the resumed work？Is there any discernible gap between the earlier part（or version）and the later part（or version）7 These questions will not merely amount to a historical documentation but moreimportant to some new insights into the novel as an artistic work.　　Question 9：IsAPassage to India a modernist novel？　　I his question may at the first encounter sound silly because Forster lived and wrote in the high time of Modernism and enjoyed a close and firm relationshiD withthe core of the Bloomsbury Group.But A Passage to India created manV puzzIes forthe modernist readers.They found no anti-traditional discourse and images;instead they perceived a strong anti-British sentiment.They saw no stream-of-consciousnesselement in the novel；instead，they identified many mystical and religious elements.Is A Passage to India a modernist novel？If yes，what distinction does it reDresent incomparison with other great works of the modernist genre？If not，what category doesit fall in？As a widely-read and intensely controversial novel，how much does ittranscend its historical limit？How much inspiration can a postmodernist reader drawfrom it？Does it embrace and indulge a multitude of interpretations as Islam andHinduism do about the diversity of Indian religions？Does A Passage to Indiaexemplify the principles in Aspects of the Novel，or is the latter an abstraction of theformer？

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