摘要
阿城和《棋王》长期以来被作为“寻根派”文学的当然重要代表,这本身是当代文学史的误会。《棋王》的文学史定位,是典型的创作“体认”超前,作者“默认”居中,后人理论“追认”滞后的文学社会学化行为。《棋王》的叙述学意义探究,如其叙述时间处理和叙述方位(包括叙述人称、叙述视角等)设置、故事内容和叙述话语矛盾等,不仅提供大量反证,且可对《棋王》文本欣赏有所借鉴。
A Cheng and his Qi Wang have been viewed as typical representatives for a long time, which are searching for the root of culture. This is a mistake in the history of the contemporary literature by itself. The point of Qi Wang in the literature history is a typical example of literature being socialized, in which realization stands ahead a literary creation, author＇s recognition stays in the middle and the successor＇ s theory arrives late. The searching for the meaning of Qi Wang＇s narration, including narrative time and point of view （person or focalization） and the contradictory between story＇s content and its discourse, not only provides with a lot of negative proof,but offers some references to appreciate the text of Qi Wang.
出处
《同济大学学报（社会科学版）》
2005年第5期78-83,共6页
Journal of Tongji University:Social Science Edition
关键词
叙述流变
叙述方位
叙述方式
narrative development
point of view
narrative mode
