摘要
本文以结构主义叙事学家热拉尔.热奈特对时序的透辟阐析为理论依据,对《青年艺术家的肖像》(以下简称《肖像》)中的叙事顺序进行深入研究。本文认为乔伊斯在建构故事主体时,大量运用倒叙手法,但他在打乱故事时序的同时,始终没能忘记凸显故事的历时进程,表现出因袭于传统的向心叙事结构。此外,本文还探讨了《肖像》日记体尾声中的无时序叙述和维拉内拉诗插曲令人费解的时间定位,认为叙事在小说结束部分呈现出明显的离心结构,主人公受记忆支配的心理时间开始掌控让故事历时进行的物理时间,从而反映了乔伊斯对传统叙事文时间观念的初步叛离。
This thesis, based upon Gerard Genette＇s structuralism insight into narrative order, is exclusively concerned with the order of A Portrait of the Artist as a Young Man （hereafter A Portrait）. It finds that Joyce made bulky use of flashback in the principal part of the novel and shuffled the temporal sequence while popping out the diachronic narrative progression, which assumes a distinctive centripetal orientation, inherited from the narrative tradition. Moreover, the essay probes a chronic diary finale and the temporally puzzled villanelle interlude. It concludes that the clear centrifugal temporal autonomy at the ending precisely reflects Joyce＇s initial deviation from the narrative tradition in terms of temporality, since the protagonist＇s psychological clock which reined his memory starts to take possession of the mechanic clock which governed the diachronic movement of the story.
出处
《绵阳师范学院学报》
2009年第3期85-88,共4页
Journal of Mianyang Teachers＇ College
