视角与意识形态
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摘要
视角的选择是叙事话语中重要的叙事策略，是文本中连接技术和意识形态、文学形式和社会现实的有力工具。通过对辛格短篇小说的大量研读，我们发现辛格的小说中除了主题的不断重复外，小说中的视角也不断变换和重现：有许多公开的老妇人或魔鬼视角；有大量的以作者为原型的第一人称视角；还有全知或有限全知视角。随着视角的重现，相应的叙述模式和隐含作者也得以显露。然而，评论界对辛格小说中的叙事视角的研究却不多见。
视角的概念包含叙述视角的角度和一个人对事物的看法和态度。如果没有和声音（叙述）的结合，对视角的分析几乎不可能。有了声音，读者可判定视角的位置；有了视角，声音则被给予了属性——声音的观点和态度。因此，此两者是相互依存的。视角的位置决定叙述者透露的信息量的多少；而对于人物的叙述量将决定叙述者和人物、读者和人物、读者和叙述者之间视觉和心理上的远近。进一步讲，这种视觉和心理上的远近关系对读者建构隐含作者起重要作用。这样，对视角的讨论就演变成视角在叙事交流中控制读者构建隐含作者的修辞作用。
本文致力于辛格短篇小说中的视角研究，意在揭示辛格是如何运用不同的叙述视角控制读者的情感来达到其叙述交流目的的以及视角所反映的叙事作品及作者的意识形态。视角的选用对作者来说是最终服务于作者与读者的叙事交流。辛格作品的“叙述”性而不是“展示”性表明了叙事交流是辛格叙述作品的本质。
基于结构主义叙事学、修辞叙事学的相关理论，本论文划分并深入探讨了辛格短篇小说中的视角：第一章讨论辛格短篇小说中的公开叙述人的故事外视角；第二章讨论以作者为原型的第一人称内视角；第三章讨论（有限）全知视角和人物内视角。在每一种视角类型中，笔者先根据热内特的聚焦分类，指出视角在短篇小说中的具体位置及位置决定下的视角特征，深入分析作者是如何对视角进行选择，如何运用视角转换、干预、限制、违规等手段控制读者的意向，并引导读者去构建真实作者所期待的隐含作者的。在每章节最后，论文总结了作者在选用该类视角对表达相应短篇小说隐含作者的用途及意义。第四章对辛格短篇小说中的基本视角进行了总结和概括，指出了辛格短篇小说中视角的整体特征，以及这种视角下所反映出作者一元论的宇宙观及自由人文主义精神的意识形态，最后简要分析了这种意识形态形成的家庭和社会原因。
通过把视角作为切入点，本文有机地把辛格短篇小说中的形式美学和文本及作者意识形态结合起来研究，这样避免了结构主义的狭隘技术论和意识形态上的脱离文本的主观评论。事实上，这种研究方法是基于文本的实证研究和基于社会和文化研究的结合，而侧重实证的方法。这一方法有助于更科学、理性地分析文本，更全面、深入地理解辛格的短篇小说，同时填补了对辛格作品进行叙事学研究的空白。
Point of view is one important strategy in narrative discourse, and the powerfultool that connects technology and ideology, fiction form and social reality. Throughstudying plenty of Singer’s short stories, we find that there also exists the recurrenceof points of view apart from their repetitious themes: there are plenty use of overt oldwoman point of view, demon point of view, a large number of author-like first-personpoints of view, and many (limited) omniscient points of view. With the recurrence ofpoints of view, the corresponding narrative mode and implied author also becomeclear. Yet there are a few studies on points of view appearing in Singer’s short storiesboth in China and abroad.
The concept of point of view contains the angle from which things are narratedand one’s manner or attitude of viewing things. The analysis of point of view could beimpossible without the combination of voice (or narration). With voice, the reader candecide the location of point of view; with point of view, voice is given its attribute—viewpoint and attitude. Therefore, the two are mutually dependent on each other. Thelocation of point of view determines the amount of the information that narratorreleases; the amount of the information about characters determines the distant orintimate relation between the narrator and characters, the reader and characters, or thereader and the narrator. Furthermore, this distant or intimate relation whether in visualor psychological respect counts much in constructing the implied author of thenarrative, thus, the discussion on point of view develops into the discussion of therhetorical function of point of view in controlling the reader to construct the image ofimplied author as expected by the real author.
The dissertation is devoted to the study of points of view appearing in Singer’sshort stories, and intends to reveal how Singer tries to control his readers throughapplying different points of view to reach his communicative purpose—to constructthe implied author as expected by him and what kinds of ideologies the points of viewreflect in both respects of the narrative and the author. To Singer, the adoption ofpoints of view is to serve the narrative communication between the author and the reader. The distinctive feature of “telling” instead of “showing” in Singer’s shortstories proves that narrative communication between the author and the reader is theessence of his works.
Based on the theories of structuralist narratology, rhetorical narratology andmainly on the book of The Collected Stories of Isaac Bashevis Singer, the dissertationfirst categorizes points of view mainly appearing in Singer’s short stories into threechapters: Chapter One, heterodiegetic point of view in Singer’s short stories withovert narrator; Chapter Two, first-person homodiegetic point of view in Singer’s(semi)-autodiegetic stories; Chapter Three,(limited) omniscient point of view andcharacter homodiegetic point of view. Within each type, I first point out the exactposition of the point of view and its characteristics according to Genette’s accuratecategorization on focalization, analyze how the author, through the “selection”,“alteration”,“intervention”,“restriction”, and “infringement” of point of view,controls the readers to construct the expected implied author. Then, at the end of eachchapter, I summarize the function and significance of this particular point of view inexpressing the implied author in its corresponding stories. Chapter Four summarizesthe basic characteristics of points of view in Singer’s short stories, further points outSinger’s ideologies—monistic cosmic point of view and liberal humanism arereflected by his adoption of traditional and distant point of view, finally, brieflyanalyzes the social and family sources that form his ideology.
By using point of view as entry point, the dissertation organically combines theaesthetic form in Singer’s short stories with textual and authorial ideology together,thus avoiding the narrow technicism of structuralism and subjective comments onideology. In fact, this method of study is a combination between empirical researchbased on the text and the research based on social and cultural background, withempirical research—the study of point of view as the focus. This method can helpanalyze Singer’s works more scientifically and rationally, and understand his shortstories more comprehensively and deeply. Simultaneously, it can help fill in the gap inthe narratological study of Singer’s works.
视角的概念包含叙述视角的角度和一个人对事物的看法和态度。如果没有和声音（叙述）的结合，对视角的分析几乎不可能。有了声音，读者可判定视角的位置；有了视角，声音则被给予了属性——声音的观点和态度。因此，此两者是相互依存的。视角的位置决定叙述者透露的信息量的多少；而对于人物的叙述量将决定叙述者和人物、读者和人物、读者和叙述者之间视觉和心理上的远近。进一步讲，这种视觉和心理上的远近关系对读者建构隐含作者起重要作用。这样，对视角的讨论就演变成视角在叙事交流中控制读者构建隐含作者的修辞作用。
本文致力于辛格短篇小说中的视角研究，意在揭示辛格是如何运用不同的叙述视角控制读者的情感来达到其叙述交流目的的以及视角所反映的叙事作品及作者的意识形态。视角的选用对作者来说是最终服务于作者与读者的叙事交流。辛格作品的“叙述”性而不是“展示”性表明了叙事交流是辛格叙述作品的本质。
基于结构主义叙事学、修辞叙事学的相关理论，本论文划分并深入探讨了辛格短篇小说中的视角：第一章讨论辛格短篇小说中的公开叙述人的故事外视角；第二章讨论以作者为原型的第一人称内视角；第三章讨论（有限）全知视角和人物内视角。在每一种视角类型中，笔者先根据热内特的聚焦分类，指出视角在短篇小说中的具体位置及位置决定下的视角特征，深入分析作者是如何对视角进行选择，如何运用视角转换、干预、限制、违规等手段控制读者的意向，并引导读者去构建真实作者所期待的隐含作者的。在每章节最后，论文总结了作者在选用该类视角对表达相应短篇小说隐含作者的用途及意义。第四章对辛格短篇小说中的基本视角进行了总结和概括，指出了辛格短篇小说中视角的整体特征，以及这种视角下所反映出作者一元论的宇宙观及自由人文主义精神的意识形态，最后简要分析了这种意识形态形成的家庭和社会原因。
通过把视角作为切入点，本文有机地把辛格短篇小说中的形式美学和文本及作者意识形态结合起来研究，这样避免了结构主义的狭隘技术论和意识形态上的脱离文本的主观评论。事实上，这种研究方法是基于文本的实证研究和基于社会和文化研究的结合，而侧重实证的方法。这一方法有助于更科学、理性地分析文本，更全面、深入地理解辛格的短篇小说，同时填补了对辛格作品进行叙事学研究的空白。
Point of view is one important strategy in narrative discourse, and the powerfultool that connects technology and ideology, fiction form and social reality. Throughstudying plenty of Singer’s short stories, we find that there also exists the recurrenceof points of view apart from their repetitious themes: there are plenty use of overt oldwoman point of view, demon point of view, a large number of author-like first-personpoints of view, and many (limited) omniscient points of view. With the recurrence ofpoints of view, the corresponding narrative mode and implied author also becomeclear. Yet there are a few studies on points of view appearing in Singer’s short storiesboth in China and abroad.
The concept of point of view contains the angle from which things are narratedand one’s manner or attitude of viewing things. The analysis of point of view could beimpossible without the combination of voice (or narration). With voice, the reader candecide the location of point of view; with point of view, voice is given its attribute—viewpoint and attitude. Therefore, the two are mutually dependent on each other. Thelocation of point of view determines the amount of the information that narratorreleases; the amount of the information about characters determines the distant orintimate relation between the narrator and characters, the reader and characters, or thereader and the narrator. Furthermore, this distant or intimate relation whether in visualor psychological respect counts much in constructing the implied author of thenarrative, thus, the discussion on point of view develops into the discussion of therhetorical function of point of view in controlling the reader to construct the image ofimplied author as expected by the real author.
The dissertation is devoted to the study of points of view appearing in Singer’sshort stories, and intends to reveal how Singer tries to control his readers throughapplying different points of view to reach his communicative purpose—to constructthe implied author as expected by him and what kinds of ideologies the points of viewreflect in both respects of the narrative and the author. To Singer, the adoption ofpoints of view is to serve the narrative communication between the author and the reader. The distinctive feature of “telling” instead of “showing” in Singer’s shortstories proves that narrative communication between the author and the reader is theessence of his works.
Based on the theories of structuralist narratology, rhetorical narratology andmainly on the book of The Collected Stories of Isaac Bashevis Singer, the dissertationfirst categorizes points of view mainly appearing in Singer’s short stories into threechapters: Chapter One, heterodiegetic point of view in Singer’s short stories withovert narrator; Chapter Two, first-person homodiegetic point of view in Singer’s(semi)-autodiegetic stories; Chapter Three,(limited) omniscient point of view andcharacter homodiegetic point of view. Within each type, I first point out the exactposition of the point of view and its characteristics according to Genette’s accuratecategorization on focalization, analyze how the author, through the “selection”,“alteration”,“intervention”,“restriction”, and “infringement” of point of view,controls the readers to construct the expected implied author. Then, at the end of eachchapter, I summarize the function and significance of this particular point of view inexpressing the implied author in its corresponding stories. Chapter Four summarizesthe basic characteristics of points of view in Singer’s short stories, further points outSinger’s ideologies—monistic cosmic point of view and liberal humanism arereflected by his adoption of traditional and distant point of view, finally, brieflyanalyzes the social and family sources that form his ideology.
By using point of view as entry point, the dissertation organically combines theaesthetic form in Singer’s short stories with textual and authorial ideology together,thus avoiding the narrow technicism of structuralism and subjective comments onideology. In fact, this method of study is a combination between empirical researchbased on the text and the research based on social and cultural background, withempirical research—the study of point of view as the focus. This method can helpanalyze Singer’s works more scientifically and rationally, and understand his shortstories more comprehensively and deeply. Simultaneously, it can help fill in the gap inthe narratological study of Singer’s works.
引文
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