發(fā)布時(shí)間：2019-05-16 13:40

【摘要】：空間是任何一部小說都不可或缺的時(shí)空兩大因素之一。小說的空間自然是由語言符號所構(gòu)成,因而具有獨(dú)特的語言屬性和藝術(shù)功能。長期以來,在我國外國文學(xué)研究界,敘事研究者們大都更青睞于西方小說所具有的明顯的時(shí)間性,而相對忽視其空間符號表現(xiàn)及其功能。但若要對西方小說進(jìn)行較為全面的探討,就需要從語言文化符號學(xué)的角度,對小說的語言符號、結(jié)構(gòu)形態(tài)和內(nèi)在意蘊(yùn)等方面的空間功能做一系統(tǒng)性的研究。 本文將闡釋空間是小說文本有效運(yùn)行的二級錯(cuò)覺。小說空間二級錯(cuò)覺意味著運(yùn)用各種空間元素,來實(shí)現(xiàn)、補(bǔ)充和發(fā)展小說的時(shí)間本質(zhì)。小說空間二級錯(cuò)覺有三種功能表現(xiàn)。第一種是“幾何空間性”,體現(xiàn)了“點(diǎn)”(如“視點(diǎn)人物”、單一情節(jié)、象征性字詞、主題等)、“線”(如“提線人物”、敘述“線程”等)和“面”(如疊加層面、“變余構(gòu)造”、“螺旋體”結(jié)構(gòu)等)等歐幾里德幾何元素的特征。小說與繪畫、雕塑和建筑等空間藝術(shù)之間的關(guān)系構(gòu)成了小說空間二級錯(cuò)覺的第二種功能,即“虛擬空間性”。小說場景與繪畫取景之間、人物塑造與雕塑體積之間、以及小說結(jié)構(gòu)與建筑功能形態(tài)之間的關(guān)聯(lián),均是小說虛擬空間性的具體體現(xiàn)。最后,小說文本還能夠產(chǎn)生一種具有生成同一空間性的動力場,使文本生成和文本詮釋成為可能。 本文首先將把小說空間方法論的發(fā)展定位在藝術(shù)、哲學(xué)和文學(xué)理論的語境中,從梳理古、現(xiàn)代最重要的空間符號理念入手,對西方小說空間功能的研究淵源和研究現(xiàn)狀進(jìn)行簡單的綜述；接著將主要以熱奈特、托多羅夫、特尼亞諾夫、托馬舍夫斯基、什克洛夫斯基、朗格等語言文學(xué)符號學(xué)理論和詹姆斯、布托爾、弗蘭克等小說功能理論為指導(dǎo),選取具有代表性的文本,分別圍繞著小說空間二級錯(cuò)覺的三個(gè)核心功能——“幾何空間性”、“虛擬空間性”和“生成同一空間性”——對小說空間功能進(jìn)行具體的分析。最后將進(jìn)一步明確空間性對于小說創(chuàng)作和詮釋的重要性。
[Abstract]:Space is one of the two indispensable factors in time and space of any novel. The space of the novel is naturally composed of language symbols, so it has unique language attributes and artistic functions. For a long time, in the field of foreign literary research in our country, most narrative researchers prefer the obvious timeliness of western novels, but relatively ignore the expression and function of their spatial symbols. However, in order to make a more comprehensive discussion of western novels, it is necessary to make a systematic study of the spatial functions of the language symbols, structural forms and internal meanings of the novels from the perspective of linguistic and cultural semiotics. This paper will explain that space is the two-level illusion of the effective operation of the novel text. The secondary illusion of novel space means the use of various spatial elements to realize, supplement and develop the time essence of novel. There are three functional manifestations of the second level illusion in novel space. The first is "geometric space", which embodies "point" (such as "viewpoint character", single plot, symbolic word, theme, etc.), "line" (such as "lifting character", narration "thread", etc.) and "surface" (such as superimposed plane). The characteristics of Euclidean geometric elements such as variable costructure, helix structure, etc. The relationship between novel and space art such as painting, sculpture and architecture constitutes the second function of the second illusion of novel space, that is, "virtual space". The relationship between novel scene and painting scene, between character shaping and sculpture volume, as well as between novel structure and architectural function form, is the concrete embodiment of novel virtual space. Finally, the novel text can also produce a dynamic force field with the same space, which makes text generation and text interpretation possible. First of all, this paper will position the development of novel spatial methodology in the context of art, philosophy and literary theory, starting with combing the most important concept of spatial symbols in ancient and modern times. This paper briefly summarizes the research origin and present situation of the spatial function of western novels. Then it will be guided by the semiotics of language and literature such as Genette, Todorov, Tenanov, Tomasevsky, Shkrovsky, Langer and James, Butor, Frank and other novels. The representative texts are selected to analyze the spatial function of the novel around the three core functions of the spatial illusion of the novel, namely, "geometric space", "virtual space" and "generating the same space". Finally, the importance of space for novel creation and interpretation will be further clarified.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號】：I106.4

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