论格非小说中的“题辞”
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摘要
以先锋文学著称的当代作家格非,在其小说创作中多次运用"题辞"这一副文本写作形式。这种作为副文本的"题辞"一般出现在书籍的扉页上或者文章的标题下面,可分为作者自己题写的文字,如献词、自题语,或者是引用别人的文字,如经典名句、诗歌等。这些"题辞"对于格非小说的研究具有重要作用,它们不仅包含着丰富的文学史料学价值,而且对小说文本意义的生成具有阐释学价值。研究这些"题辞",不仅能够了解一些历史事实,还可以更深入解读格非的小说。
The contemporary writer Ge Fei, who is famous for her pioneering literature, has used the paratext of "inscriptions" as a form of writing in his novels.This "inscription" as a paratext generally appears on the title page of the book or under the title of the article, and can be divided into the words written by the author himself, such as congratulatory messages, self-inscriptions, or cited words like classical sentences, poetry and so on.These "inscriptions" play an important role in the study of Ge Fei's novels. They not only contain rich literary historical material values, but also have hermeneutic value for the generation of novel textual meanings.Studying these "inscriptions" can not only help to understand some historical facts, but also deepen the interpretation of Ge Fei's novels.
The contemporary writer Ge Fei, who is famous for her pioneering literature, has used the paratext of "inscriptions" as a form of writing in his novels.This "inscription" as a paratext generally appears on the title page of the book or under the title of the article, and can be divided into the words written by the author himself, such as congratulatory messages, self-inscriptions, or cited words like classical sentences, poetry and so on.These "inscriptions" play an important role in the study of Ge Fei's novels. They not only contain rich literary historical material values, but also have hermeneutic value for the generation of novel textual meanings.Studying these "inscriptions" can not only help to understand some historical facts, but also deepen the interpretation of Ge Fei's novels.
引文
[1]第三届“华语文学传媒大奖”专辑[J].当代作家评论,2005(3):35-44.
[2]辞海编辑委员会.辞海[M].上海:上海辞书出版社,1981:245.
[3]热拉尔·热奈特.热奈特论文集[M].史忠义,译.天津:百花文艺出版社,2001:71-72.
[4]朱桃香.副文本对阐释复杂文本的叙事诗学价值[J].江西社会科学,2009(4):39.
[5]金宏宇.中国现代文学的副文本[J].中国社会科学,2012(6):172.
[6]格非.博尔赫斯的面孔[M].南京:译林出版社,2014:78.
[7]格非.迷舟[M].北京:作家出版社,1989:200,100.
[8]格非.大年[J].上海文学.1988(8):25.
[9]格非.武则天[J].江南.1994(1):26.
[10]格非.欲望的旗帜[M].南京:江苏文艺出版社,1996.
[11]格非.黎明之轨[J].时代文学,1989(1):25.
[12]格非.唿哨[M].武汉:长江文艺出版社,1992:101.
[13]格非.雨季的感觉[M].北京:新世界出版社,1994:76.
[14]格非.望春风[M].南京:译林出版社,2016.
[15]吴虹飞.这个世界好些了吗:吴虹飞名人访谈录[M].上海:上海人民出版社,2007:79.
[16]韩松落.为了报仇看电影[M].北京:北京理工大学出版社,2010:210.
[17]吴亮,刘江涛.先锋就是历史上的一座座墓碑[J].上海文化,2009(5):120.
[18]伊塔洛·卡尔维诺.为什么读经典[M].黄灿然,李桂蜜,译.南京:译林出版社,2006:242.
[2]辞海编辑委员会.辞海[M].上海:上海辞书出版社,1981:245.
[3]热拉尔·热奈特.热奈特论文集[M].史忠义,译.天津:百花文艺出版社,2001:71-72.
[4]朱桃香.副文本对阐释复杂文本的叙事诗学价值[J].江西社会科学,2009(4):39.
[5]金宏宇.中国现代文学的副文本[J].中国社会科学,2012(6):172.
[6]格非.博尔赫斯的面孔[M].南京:译林出版社,2014:78.
[7]格非.迷舟[M].北京:作家出版社,1989:200,100.
[8]格非.大年[J].上海文学.1988(8):25.
[9]格非.武则天[J].江南.1994(1):26.
[10]格非.欲望的旗帜[M].南京:江苏文艺出版社,1996.
[11]格非.黎明之轨[J].时代文学,1989(1):25.
[12]格非.唿哨[M].武汉:长江文艺出版社,1992:101.
[13]格非.雨季的感觉[M].北京:新世界出版社,1994:76.
[14]格非.望春风[M].南京:译林出版社,2016.
[15]吴虹飞.这个世界好些了吗:吴虹飞名人访谈录[M].上海:上海人民出版社,2007:79.
[16]韩松落.为了报仇看电影[M].北京:北京理工大学出版社,2010:210.
[17]吴亮,刘江涛.先锋就是历史上的一座座墓碑[J].上海文化,2009(5):120.
[18]伊塔洛·卡尔维诺.为什么读经典[M].黄灿然,李桂蜜,译.南京:译林出版社,2006:242.