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论法国“新新小说”不动声色的叙事策略
赵佳
浙江大学 外国语言文化与国际交流学院,浙江 杭州 310058
Impassible Narrative in French ″New New Novel″
Zhao Jia
School of International Studies, Zhejiang University, Hangzhou 310058, China

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摘要 

法国“新新小说”在叙事中采用了不动声色的策略,体现在叙事视角、叙事语调、叙事语言、叙事空间和叙事节奏五个层面。在叙事视角上,“新新小说”喜欢运用“外视角”来剥除叙事者的主观情绪,即便在运用“内视角”时,也同样限制人物的情感。就叙事语调而言,作者和人物、叙事者和其叙述之间存在距离感,形成了一种中立、客观、冷峻、反讽、不带情感的叙事语调。叙事语言则体现了简化和精确两个特征,一方面叙事者将语言简化到最基本的信息,另一方面给出过度的细节描写,造成失真的效果。叙事者还喜欢描写“非人格化”的叙事空间,包括死寂的空间、迷宫般的空间和抽象空间,将空间与人物隔离开来,不再提供稳定的意义。在叙事节奏上,迫切和收敛形成紧张和平静两种节奏,造成叙事收放并存的效果。“新新小说”不动声色的叙事是对传统小说中意识形态、形式主义、本体论和心理描写的反抗,体现了当代文学的“平面”美学。

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赵佳
关键词 法国当代文学; &ldquo新新小说” 叙事策略; 不动声色; 反讽    
Abstract

In the late 1970s and early 1980s, French Minuit Press presented a group of young writers, described by critics as ″New New Novel″ or ″Impassive?Novel″. The novelists adopted the unemotional strategies in the narrative, abandoning the depiction of the interiority of the characters, which makes their works have a sense of distance, revealing the distance between the author and the characters, the narrator and the narrative. In terms of narrative perspective, ″New New Novels″ like to use the ″external perspective″ to remove the subjective moods and judgments of the narrator, and to minimize the existence of the narrator, leaving only a kind of description that can be called behaviorism. Even when using the ″internal perspective″, it also limits the emotions of the personages, reflecting the attitude of the contemporary people who are indifferent, wandering, refuse to integrate into the environment, and refuse to communicate with others. In terms of narrative tone, there is a sense of distance between the author and the personages, narrators and narratives, forming a neutral, objective, cold, ironic and non-emotional narrative tone. The ″New New novelists″ frequently use irony, and do not violently attack or ridicule the characters or events, but convey a calm and sense of distance.The narrator uses various methods to insert his own voice into the text implicitly or explicitly, enhancing the self-image of the narrator and the autoreflexive characteristics of the text. The narrative language reflects the two characteristics of simplification and precision. On the one hand, the narrator simplifies the language to the most basic information, retains only the necessary information, and deletes all the vocabulary of description, judgment and characterization; on the other hand, the narrator gives excessive details, causing distortion effects, in order to achieve the purpose of irony. The ″New New novelists″ create a large number of ″impersonal″ spaces in the text, including dead space, labyrinthine space and abstract space. The flat characters move in the impersonal space, the characters are not attached to any space, and the space can not provide a stable meaning for the action of the characters, all of which make the whole narrative show the characteristics of rapid change and movement, and evacuated of identity, personality, memories and emotions. In the narrative rhythm, ″urgency″ and ″ retention ″ form a two-paced rhythm, which results in the tension of narration. The ″New New novel″ creates a sense of distance through unemotional narrative strategies, such as precise descriptions like camera lenses, behavioral descriptions, descriptions of a large number of impersonal spaces, and alternation between emotions and irony. The unemotional tone is the resistance to ″ideology″, ″formalism″, ″ontology″ and ″psychological description″ in traditional novels, which reflects the ″plane″ aesthetics of contemporary literature.

Key wordscontemporary French literature    ″New New Novel″    narrative strategies    impassible    irony   
    
引用本文:   
赵佳. 论法国“新新小说”不动声色的叙事策略[J]. 浙江大学学报(人文社会科学版), 2019, 5(4): 172-. Zhao Jia. Impassible Narrative in French ″New New Novel″. JOURNAL OF ZHEJIANG UNIVERSITY, 2019, 5(4): 172-.
链接本文:  
https://www.zjujournals.com/soc/CN/10.3785/j.issn.1008-942X.CN33-6000/C.2018.08.202     或     https://www.zjujournals.com/soc/CN/Y2019/V5/I4/172
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