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首页> 外文学位 >NARRATIONAL AND TEMPORAL FORM IN THE NINETEENTH- AND TWENTIETH-CENTURY NOVEL (GEORGE ELIOT; CHARLES DICKENS; HENRY JAMES; WILLIAM FAULKNER; GABRIEL GARCIA MARQUEZ; COLOMBIA).
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NARRATIONAL AND TEMPORAL FORM IN THE NINETEENTH- AND TWENTIETH-CENTURY NOVEL (GEORGE ELIOT; CHARLES DICKENS; HENRY JAMES; WILLIAM FAULKNER; GABRIEL GARCIA MARQUEZ; COLOMBIA).

机译：十九世纪和二十世纪新时代的叙事形式和时间形式（乔治·伊洛特；查尔斯·狄更斯；亨利·詹姆斯；威廉姆·福克纳；加布里埃尔·加西亚·马奎兹；哥伦比亚）。

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摘要

The comparatively limited and instinctual handling of narration and temporality during much of the nineteenth century gave way to a period of experimentation in which novelists sought new methods in order to represent subjective consciousness and the inner experience of time. As confidence waned in the idea of an objective, independent and knowable "reality", the novel's fictional world was felt to have substance only insofar as it was portrayed within the flux of consciousness. Consequently, the narrational and temporal form of the novel assumed new significance as a structuring device and as an index of narrative realism, a development that superseded conventional realism's attention to probable plots and plausible characters. In effect, the narrational situation became subject to a new kind of perceptual realism.;In George Eliot's progression from Adam Bede to The Mill on the Floss and Dickens' progression through David Copperfield, Bleak House and Great Expectations can be seen a growing concern to make narrative structure evoke not the broad oscillations of history but rather the recording of impressions in time on the individual consciousness and their subsequent recall in memory. As a result, the conventional first-person situation undergoes great change in order to focus less on the report of past events and more on the experience of remembering those events in the narrational present. Henry James's pivotal narrational and temporal innovations achieve an effect in the third-person situation similar to that of Eliot's and Dickens' retrospective novels. The Ambassadors intricately exploits the counterpoint between the immediate recording of impressions on Strether's consciousness and his later recollection of those impressions, thereby evoking duration in a manner unlike conventional nineteenth-century novels. Through complex narrational situations that force the reader to reconstruct for himself the tenuous reality of the Sutpen tale, Faulkner's Absalom, Absalom! dramatizes a collective and subconscious stratum of mind and memory. Garcia Marquez's One Hundred Years of Solitude creates a world reminiscent of the fictional worlds of nineteenth-century realism, but it undercuts that world by insisting on the fiction's dependence upon a narrational and temporal form that represents existence--and fictions--as a kind of collective memory.
机译：在十九世纪的大部分时间里，对叙事和时间性的相对有限和本能的处理被一个实验时期所取代，在该时期，小说家们寻求新的方法来表现主观意识和时间的内在体验。随着人们对客观，独立和可知的“现实”观念的信心减弱，小说的虚构世界只有在意识流中被描绘时才被认为具有实质性。因此，小说的叙事和时间形式作为结构化工具和叙事现实主义的指标具有了新的意义，这一发展取代了传统现实主义对可能的情节和可能的人物的关注。实际上，叙述性叙事成为一种新型的感知现实主义。在乔治·艾略特（George Eliot）从亚当·贝德（Adam Bede）到《牙线磨坊》（The Mill on the Floss）的发展以及狄更斯通过戴维·科波菲尔（David Copperfield），《荒凉的房子》和《大期望》的发展中，人们越来越关注使叙事结构不唤起历史的广泛波动，而是唤起对个人意识的印象的及时记录及其随后在记忆中的回忆。结果，传统的第一人称处境发生了很大的变化，以便更少地关注过去事件的报告，而更多地关注记叙叙事中的那些事件的经历。亨利·詹姆斯（Henry James）的关键叙事和时间创新在第三人称视角下达到了与艾略特和狄更斯的回顾小说相似的效果。大使们错综复杂地利用了立即记录对Strether意识的印象与后来对这些印象的回忆之间的对立，从而以一种不同于传统的19世纪小说的方式唤起了持续时间。通过复杂的叙事情境，迫使读者自己重建萨特彭故事的脆弱现实，福克纳的押沙龙，押沙龙！戏剧化了思维和记忆的集体和潜意识层次。加西亚·马克斯（Garcia Marquez）的“百年孤独”创造了一个让人想起19世纪现实主义小说世界的世界，但它通过坚持小说对代表一种存在和小说的叙事和时间形式的依赖而削弱了这个世界。集体记忆。

著录项

  • 作者

    OLSON, CHRISTOPHER PETER.;

  • 作者单位

    Northwestern University.;

  • 授予单位 Northwestern University.;
  • 学科 Modern literature.;Latin American literature.;American literature.;English literature.
  • 学位 Ph.D.
  • 年度 1985
  • 页码 269 p.
  • 总页数 269
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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