讲述未发生的事件——杰拉德·普林斯“否叙述”理论发微
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摘要
"否叙述"讲述故事世界中的未发生事件,其在推进故事情节发展进程中起到了反作用,但"否叙述"通过讲述未发生事件,构成一种对故事情节作特殊处理的叙述行为和叙述策略。自被提出以来,"否叙述"理论引发了不少辨析和争论,且出现了将其与"解叙述"、"不可述"等理论概念相混淆的现象。鉴于此,有必要从学理意义上厘清"否叙述"这一理论概念,以及它与其他相关概念之间的纠缠和互动关系。本文聚焦"否叙述"理论,重点探讨以下三个方面的具体内容:(1)"否叙述"的定义以及它与"不可述"、"解叙述"等相关概念的区别;(2)"否叙述"作为一种叙述策略的修辞功能;(3)"否叙述"理论在叙事理论发展史上的影响。
"Disnarration"tells events that do not happen in the story worlds. Therefore,it produces a countereffect for narrative progression. Yet the application of disnarration in narratives can work as an important narrative act and strategy by influencing narrative progression in a special form. The concept of disnarration has generated some critical debates and controversies,and some critics even confuse this concept with "denarration"and "unnarration". Therefore,it is mecessary to clearly define "disnarration"and distinguish this term from other related ones. The present essay explores the theory of "disnarration"by( 1) defining the concept of"disnarration"and distinguishing it from"unnarration"and"denarration",( 2) identifying its functions in a narrative,and( 3) examining its influences in the historical development of the narrative theory.
"Disnarration"tells events that do not happen in the story worlds. Therefore,it produces a countereffect for narrative progression. Yet the application of disnarration in narratives can work as an important narrative act and strategy by influencing narrative progression in a special form. The concept of disnarration has generated some critical debates and controversies,and some critics even confuse this concept with "denarration"and "unnarration". Therefore,it is mecessary to clearly define "disnarration"and distinguish this term from other related ones. The present essay explores the theory of "disnarration"by( 1) defining the concept of"disnarration"and distinguishing it from"unnarration"and"denarration",( 2) identifying its functions in a narrative,and( 3) examining its influences in the historical development of the narrative theory.
引文
① Gerald Prince,“The Disnarrated”,Style (April 1988),pp.1-8.
② Gerald Prince,“L’Alternarré”,Strumenti Critici (May 1989),pp.223-231.
③ Gerald Prince,Narrative as Theme:Studies in French Fiction (Lincoln:U of Nebraska P,1992),pp.28-38.
④ Thomas G.Pavel,“Gerald Prince and Narrative Studies”,Narrative (October 2014),p.298.
⑤ 赵毅衡:《情节与反情节叙述与未叙述》,载《华中师范大学学报》(人文社会科学版)2014年第6期,98页。
⑥ 杰拉德·普林斯:《叙述学词典》,乔国强、李孝弟译,上海译文出版社2016年版,133页。
⑦ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,in A Companion to Narrative Theory (Malden:Blackwell Publishing,2005),p.222.
⑧ Gerald Prince,“The Disnarrated”,p.1.
⑨ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.222.
⑩ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.222.
(11) 赵毅衡:《情节与反情节叙述与未叙述》,101页。
(12) Andreas Mahler,“Tellabilities – Diatopic / Diachronic:Where and When a Story is Worth Telling and Where and When it is Not”,Zeitschrift für Anglistik und Amerikanistik (December 2017),p.357.
(13) 赵毅衡:《情节与反情节叙述与未叙述》,101页。
(14) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,Narrative (May 2001),p.168.
(15) Brian Richardson,“Denarration”,in Routledge Encyclopedia of Narrative Theory (New York:Routledge,2005),pp.100-101.
(16) Gerald Prince,“The Disnarrated”,p.1.
(17) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.32.
(18) 赵毅衡:《情节与反情节叙述与未叙述》,98页。
(19) 乔国强、杰拉德·普林斯:《作为一门学科的叙事学——杰拉德·普林斯教授访谈录》,载《文艺理论研究》2012年第3期,113页。
(20) Hilary P.Dannenberg,“Gerald Prince and the Fascination of What Doesn’t Happen”,Narrative (October 2014),p.307.
(21) Gerald Prince,“The Disnarrated”,p.6.
(22) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(23) Gerald Prince,“The Disnarrated”,p.4.
(24) Heta Pyrhonen,“Retardatory Devices”,in Routledge Encyclopedia of Narrative Theory (New York:Routledge,2005),p.499.
(25) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(26) Suzanne Keen,Narrative Form (New York:Palgrave Macmillan,2015),p.65.
(27) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(28) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(29) 杰拉德·普林斯:《叙事学:叙事的形式与功能》,徐强译,中国人民大学出版社2013年版,7页。
(30) 杰拉德·普林斯:《叙事学:叙事的形式与功能》,18页。
(31) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.36.
(32) 尚必武:《当代西方后经典叙事学研究》,人民文学出版社2013年版,133页。
(33) Meir Sternberg,“Reconceptualizing Narratology:Arguments for a Functionalist and Constructivist Approach to Narrative”,Enthymema (July 2011),p.48
(34) Meir Sternberg,“Factives and Perspectives:Making Sense of Presupposition as Exemplary Inference”,Poetics Today (March 2001),p.158.
(35) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.36.
(36) Hilary P.Dannenberg,“Gerald Prince and the Fascination of What Doesn’t Happen”,pp.304-305.
(37) 详细论述参见上文“重审概念的边界”这一部分。
(38) 罗宾·沃霍尔:《新叙事:现实主义小说和当代电影怎样表达不可叙述之事》,载《当代叙事理论指南》,宁一中译,北京大学出版社2007年版,242页。
(39) Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.221.
(40) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,p.169.
(41) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,p.168.
(42) 尚必武:《当代西方后经典叙事学研究》,133页。
(43) 参见Hilary P.Dannenberg,Coincidence and Counterfactuality:Plotting Time and Space in Narrative Fiction (Lincoln:U of Nebraska P,2008)。国内学者对丹尼伯格的理论已有论述,详见尚必武:《巧合·反事实·聚合·离散:评希拉里丹尼伯格的情节理论》,载《外语教学》2011年第3期,74-78页。
(44) Mary J.Baker,“The ‘Disnarrated’ in Les Cent nouvelles nouvelles”,Orbis Litterarum (October 1995),p.274.
(45) Laura Karttunen,“A Sociostylistic Perspective on Negatives and the Disnarrated:Lahiri,Roy,Rushdie”,Partial Answers:Journal of Literature and the History of Ideas (June 2008),pp.420-421.
② Gerald Prince,“L’Alternarré”,Strumenti Critici (May 1989),pp.223-231.
③ Gerald Prince,Narrative as Theme:Studies in French Fiction (Lincoln:U of Nebraska P,1992),pp.28-38.
④ Thomas G.Pavel,“Gerald Prince and Narrative Studies”,Narrative (October 2014),p.298.
⑤ 赵毅衡:《情节与反情节叙述与未叙述》,载《华中师范大学学报》(人文社会科学版)2014年第6期,98页。
⑥ 杰拉德·普林斯:《叙述学词典》,乔国强、李孝弟译,上海译文出版社2016年版,133页。
⑦ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,in A Companion to Narrative Theory (Malden:Blackwell Publishing,2005),p.222.
⑧ Gerald Prince,“The Disnarrated”,p.1.
⑨ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.222.
⑩ Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.222.
(11) 赵毅衡:《情节与反情节叙述与未叙述》,101页。
(12) Andreas Mahler,“Tellabilities – Diatopic / Diachronic:Where and When a Story is Worth Telling and Where and When it is Not”,Zeitschrift für Anglistik und Amerikanistik (December 2017),p.357.
(13) 赵毅衡:《情节与反情节叙述与未叙述》,101页。
(14) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,Narrative (May 2001),p.168.
(15) Brian Richardson,“Denarration”,in Routledge Encyclopedia of Narrative Theory (New York:Routledge,2005),pp.100-101.
(16) Gerald Prince,“The Disnarrated”,p.1.
(17) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.32.
(18) 赵毅衡:《情节与反情节叙述与未叙述》,98页。
(19) 乔国强、杰拉德·普林斯:《作为一门学科的叙事学——杰拉德·普林斯教授访谈录》,载《文艺理论研究》2012年第3期,113页。
(20) Hilary P.Dannenberg,“Gerald Prince and the Fascination of What Doesn’t Happen”,Narrative (October 2014),p.307.
(21) Gerald Prince,“The Disnarrated”,p.6.
(22) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(23) Gerald Prince,“The Disnarrated”,p.4.
(24) Heta Pyrhonen,“Retardatory Devices”,in Routledge Encyclopedia of Narrative Theory (New York:Routledge,2005),p.499.
(25) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(26) Suzanne Keen,Narrative Form (New York:Palgrave Macmillan,2015),p.65.
(27) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(28) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.35.
(29) 杰拉德·普林斯:《叙事学:叙事的形式与功能》,徐强译,中国人民大学出版社2013年版,7页。
(30) 杰拉德·普林斯:《叙事学:叙事的形式与功能》,18页。
(31) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.36.
(32) 尚必武:《当代西方后经典叙事学研究》,人民文学出版社2013年版,133页。
(33) Meir Sternberg,“Reconceptualizing Narratology:Arguments for a Functionalist and Constructivist Approach to Narrative”,Enthymema (July 2011),p.48
(34) Meir Sternberg,“Factives and Perspectives:Making Sense of Presupposition as Exemplary Inference”,Poetics Today (March 2001),p.158.
(35) Gerald Prince,Narrative as Theme:Studies in French Fiction,p.36.
(36) Hilary P.Dannenberg,“Gerald Prince and the Fascination of What Doesn’t Happen”,pp.304-305.
(37) 详细论述参见上文“重审概念的边界”这一部分。
(38) 罗宾·沃霍尔:《新叙事:现实主义小说和当代电影怎样表达不可叙述之事》,载《当代叙事理论指南》,宁一中译,北京大学出版社2007年版,242页。
(39) Robyn Warhol,“Neonarrative;or,How to Render the Unnarratable in Realist Fiction and Contemporary Film”,p.221.
(40) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,p.169.
(41) Brian Richardson,“Denarration in Fiction:Erasing the Story in Beckett and Others”,p.168.
(42) 尚必武:《当代西方后经典叙事学研究》,133页。
(43) 参见Hilary P.Dannenberg,Coincidence and Counterfactuality:Plotting Time and Space in Narrative Fiction (Lincoln:U of Nebraska P,2008)。国内学者对丹尼伯格的理论已有论述,详见尚必武:《巧合·反事实·聚合·离散:评希拉里丹尼伯格的情节理论》,载《外语教学》2011年第3期,74-78页。
(44) Mary J.Baker,“The ‘Disnarrated’ in Les Cent nouvelles nouvelles”,Orbis Litterarum (October 1995),p.274.
(45) Laura Karttunen,“A Sociostylistic Perspective on Negatives and the Disnarrated:Lahiri,Roy,Rushdie”,Partial Answers:Journal of Literature and the History of Ideas (June 2008),pp.420-421.