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首页> 外文学位 >From sketch to novel: Nonnarrative styles in Victorian fiction (Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell).
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From sketch to novel: Nonnarrative styles in Victorian fiction (Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell).

机译：从素描到小说：维多利亚时代小说的非叙事风格（查尔斯·狄更斯，威廉·马克·皮克·萨克雷，伊丽莎白·加斯凯尔）。

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摘要

Although the novelists of the nineteenth century are considered English literature's great masters of narrative, at crucial moments in their careers many of them adopted a form distinguished by its plotlessness: the sketch. While the importance of the sketch, both in the oeuvres of such authors as Dickens and Thackeray and in the Victorian literary field as a whole, is unmistakable, its lack of plot has kept it out of the view of historians and theorists of the novel who define the novel solely in narrative terms. Yet the characteristics of the sketch that arrest temporal progress---its exhaustive attention to descriptive detail, its focus on repetitive, quotidian events, and its general discursiveness---are not so much opposed to the form of the Victorian novel as constitutive features of it. The project of my dissertation, therefore, is not only to recover the neglected form of the sketch, but also, through readings of the works of Dickens, Thackeray, and Gaskell, to show how its nonnarrativity is a central feature of the novel, one that alters our conception of the novel's relationship to ideological and psychic structures traditionally modeled in terms of plot.; The sketch's discursiveness foregrounds the pleasures and powers of style. As a textual element that remains unvarying throughout a text, style is structurally opposed to the mobile, restless nature of narrative; it finds its most concrete formal incarnation in both the sketch and those sketch-like, narratively static passages (descriptions, digressions, authorial asides) that add so much bulk to Victorian triple-deckers. In the language of psychology, style refers to a subject's consistent and characteristic manner, which is produced by the sedimentation of primal conflicts that have remained unresolved. Likewise, the style of a novel may be seen as the repository of historical and psychic contradictions that cannot be resolved through temporal progression and that therefore exert constant pressure on the text.; As I show in my introduction, the sketch's relationship to style is in part a function of its eighteenth-century origins as a journalistic form. Though historians of the novel have pointed to journalism as an institution that developed readers' and writers' desire for narratives, periodical forms more importantly created a taste for stable, consistent styles, which allowed journalists to pick up and dispose of any item of fleeting interest while still maintaining a distinctive and recognizable product. The style and form of a journalistic sketch thereby worked to counteract the anxiety produced by the rapidly changing world depicted by periodicals: just as picturesque sketches imposed stasis on a natural landscape in constant flux, written sketches provided the illusion of an arrested temporality. If narrative responded to modernity's bewilderingly accelerated time scheme by emphasizing coherence and causality, the sketch phantasmatically stopped time altogether.; Style, then, performs ideological work that is different from, even standing in opposition to, that performed by narrative. So Dickens's exuberant descriptions of the urban poor that initially appeared in his sketches tend to overwhelm the narratives of his first novels---narratives whose emphasis on benevolence is counteracted by the stylistic pleasure readers derive from his depictions of the miseries of the lower class. Thackeray's journalistic sketches display his tendency toward satiric discursiveness, which arose as a response to hack journalism's demand for texts whose irony could disguise their reiteration of received ideas. Pendennis incorporates such recirculated information in the form of long narratorial digressions about the commonplace nature of the novel---digressions that slow the plot and foreground a meandering, contemplative style that helped transform the image of the novelist from a hack to a leisured professional. Elizabeth Gaskell's sketchbook---like Cranford, with its rur
机译：尽管十九世纪的小说家被认为是英国文学的叙事大师，但在他们职业生涯的关键时刻，他们中的许多人采取了一种以其无情性为特征的形式：素描。尽管无论是狄更斯和塔克雷之类的作家的作品还是整个维多利亚文学领域，素描的重要性都是显而易见的，但由于缺乏情节，这使小说的历史学家和理论家们望而却步。仅以叙事方式来定义小说。然而，草图阻止了时间的进步-它对描述性细节的全神贯注，对重复性的，quotidian事件的关注以及对它的普遍话语性-并没有与维多利亚小说的形式特征相抵触。它的。因此，我的论文的目的不仅是要恢复草图的被忽略形式，而且还要通过阅读狄更斯，沙克雷和加斯凯尔的作品，来表明其非叙述性是小说的中心特征，改变了我们对小说与传统情节模式下的意识形态和心理结构的关系的理解。草图的话语性突出了样式的乐趣和力量。作为在整个文本中保持不变的文本元素，样式在结构上与叙事的流动性，躁动不安的性质相对立；它在草图和那些类似于草图的，叙述性的静态段落（描述，题外话，作者的助手）中找到了最具体的形式化身，为维多利亚时期的三层甲板增加了很多体积。用心理学的语言来说，风格是指主体始终如一的特征方式，这是由尚未解决的原始冲突的沉淀所产生的。同样，小说的风格可以看作是历史和心理矛盾的仓库，这些矛盾不能通过时间的发展而得到解决，因此对文本不断施加压力。正如我在介绍中所展示的那样，该草图与样式的关系部分是其十八世纪起源于新闻形式的功能。尽管小说的历史学家指出新闻学是一种发展读者和作家对叙事欲望的机构，但期刊形式更重要的是创造了一种稳定，连贯风格的品味，使记者能够吸收和处理任何短暂的兴趣。同时仍保持独特和可识别的产品。新闻素描的风格和形式从而抵消了期刊所描绘的瞬息万变的世界所产生的焦虑：就像风景如画的素描以恒定的流量在自然景观上停滞不前一样，书面素描提供了暂时性的幻觉。如果叙事通过强调连贯性和因果关系来回应现代性令人费解的加速时间方案，那么草图就完全停止了时间。那么，风格所执行的思想工作就不同于叙事所进行的思想工作，甚至与之相反。因此，狄更斯最初在素描中出现的对城市贫民的热烈描述往往使他的第一本小说的叙事不堪重负-那些对仁慈的强调被读者对他对下层阶级苦难的描写所抵消的风格愉悦感。 Thackeray的新闻速写显示了他倾向于讽刺性话语的倾向，这是对hack新闻业对文本的需求的回应，这些文本具有讽刺意味，可以掩盖其对已收到想法的重申。潘登尼斯以长篇幅的题外话的形式结合了这种循环利用的信息，这些内容涉及小说的平凡性-题外话使故事情节变慢并呈现出一种曲折的，沉思的风格，从而帮助小说家的形象从hack转变为休闲的职业。伊丽莎白·加斯凯尔（Elizabeth Gaskell）的素描本-像克兰福德（Cranford）一样，

著录项

  • 作者

    Garcha, Amanpal Singh.;

  • 作者单位

    Columbia University.;

  • 授予单位 Columbia University.;
  • 学科 Literature English.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 232 p.
  • 总页数 232
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I561;
  • 关键词

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