乔国强试谈文学研究方法及案例分析PPT课件.pptx

试谈文学研究方法及案例分析文学研究方法及案例分析上海外国语大学 乔国强1.中国学中国学者立者立场 以英美以英美为中心的研究立中心的研究立场 以以“他者他者”为中心的研究立中心的研究立场 独立的学独立的学术立立场和价和价值取向取向2.By changing the definition of what is being studied,we change what we see.e.g.a novel is not a lyric poem,of course,and the methods of analysis that serve for poetry cannot without modifications be applied to fiction.3.点从研究一部作品做起从研究一个文学流派做起从研究一种族裔文学做起从研究一个时代的文学做起从研究一个国家的文学做起文学研究的三个文学研究的三个过程程：2024/2/26 周一4.线从某个作家到前后与之相关的作家从某个国家的流派到其他国家的流派从某个族裔文学现象到整个民族文学从国别文学到比较文学、世界文学2024/2/26 周一5.面面同类作家研究同类文学流派研究同类族裔文学研究同类问题研究同一时代作家研究2024/2/26 周一6.方法方法论问题：方法论是开展研究的一把钥匙，一个切入点，一种观察问题的视角 方法论是帮助解决认识论问题的一个有效途径。几几种种主主要要方方法法文化批评伦理道德批评叙述研究女性批评生态批评后现代批评后殖民批评后7.文学研究的四个文学研究的四个层次：次：Genre:文体/文类 Convention：规约 Text：文本 Device：技巧、方式（Cf.F.R.Moretti,Modern Epic：The World-System from Goethe to Garcia-Marquez）研究的定位：研究的定位：8.Narrative Story(content)Discourse(expression)eventsexistentsactionshappeningscharacterssettingsForm of content=Structure of Narrative transmissionPeople,things,etc.as preprocessed by the authors cultural codes=Substance of contentmanifestationVerbalCinematicBalleticPantomimicEtc.=Form of expressionSubstance of expressionS.Chatman,Story and Discourse9.分分类与与问题研究研究分分类：按年代、按：按年代、按类别、按关系、按条件，、按关系、按条件，等等。等等。确定确定关系：关系：pair(s);relationship/interrelationship;interaction;etc.建立建立规约/范式范式 （convention/paradigm）问题意意识 +“落脚落脚处”10.叙述总是在某个视域中进行。“谁具有视域，谁就知道按照远和近、大和小去正确评价这个视域内的一切都已得意义。”伽达默尔：真理与方法（上卷）洪汉鼎译，上海译文出版社，1982年版，第388页。视域无疑是建构意义的必由之路。视域的重要性域的重要性3+1 points of view:character,narrator,the audience,the author cf.Robert Scholes and Robert Kellogg:The Nature of Narrative11.Focalization:Types of focalization:Internal/external focalizationfocalization“who sees”or,more generally,“who perceives”(and conceives)should be distinguished from voice(“who speaks,”“who tells,”“who narrates”)(Bal:1977,1981,1983,1985;Genette:1980,1983,etc.)types of focalizationHere the basic contrast is between external and internal focalization.External focalization occurs where the focalization is from an orientation outside the story(what this seems to mean is that the orientation is not associable with that of any character within the text).In any event,in cases the narrator/focalizer separation tends to collapse,so the focalization has no particular interest independent of that of the narration.Internal focalization occurs inside the represented events or,perhaps better,inside the setting of the events,and almost always involves a character-focalizer,though some unpersonified position or stance could be adopted.12.the measure of time;the structure of time;absolute and relative time;sacred and secular time;past,present and future time;earlier and later time;the end and beginning of time;concept of future;concept of eternity;concept of the past;concept of time flow;glorious past and prophetic future;concept of linear time;concept of circular time;etc.Topics of time order（时序）序）duration（时长）frequency（时频）anachrony,analepses and prolepses 13.paralepsis（多叙）：narration that reflects a greater knowledge than the narrator could presumably have;in other words,narration in which the narrator tells more than he or she knows.paralipsis（少叙）：narration that does not reflect the narrators full relevant knowledge;in other words,narration in which the narrator tells less than he or she knows.所有的叙述都是有指向性的，所有的叙述者都有自己叙述的角度、立场、取向。14.2024/2/26 周一15 米克巴尔的“在其内”与“在其外”列斐伏尔“三维度”：空间实践、空间表征、表征的空间 福柯的空间与权力 语篇层面：以语篇为对象的研究 事件/情节层面：以事件/情节为对象的研究 意义层面：以空间寓意为对象的研究 空间的破碎性与生成性空间研究的三个核心与三个层面.16References for Space Studies：爱德华索亚：第三空间，陆扬译，上海教育出版社，2005年版哈维：希望的空间，胡大平译，南京大学出版社，2006年版迈克克朗：文化地理学，宋慧敏译，南京南京大学出版社，2005年版Sallie Westwood,Imagining Cities:Scripts,Signs,Memory,London:Routledge,1997.Henri Lefebvre,The Production of Space,trans.By Donald Nocholson-Smith,Oxford:Blackwell Publishers,1991.Henri Lefebvre,Rhythmanalysis:Space,Time and Everyday Life,N.Y.:Continuum,2004.2024/2/26 周一.17空间方面与感知：在故事中，空间是与“生活”在其中的人物联系在一起的，空间的首要方面就在于人物所产生的意识在空间中表现的方式。空间感知中特别包括三种感觉：视觉、听觉和触觉借助这三种官能感觉，可以指明人物与空间之间的两类关系。人物位于其中的空间，或正好不位于其中的空间，可被看作为一个结构。空间得以充实的方式也可被指出。（第157-58页）叙事空叙事空间（米克巴尔：叙事学第2版，第156-167页）2024/2/26 周一.18 空间方面的语义内容可以像人物的语义内容那样建立起来。这里，我们也发现确定、重复、积聚和转变的初步结合，以及不同空间之间的相互关系。在读者参照系的基础上，确定再次得以完成“在厨房里”、“在起居间”等符号将唤起更多的精确形象。对一个空间的描述越精确，在一般性中所增加的独特性就越多，一般性也因此而变得较不显眼。但是，一般的特征从未停止其作用。只有通过一般特征才有可能产生一种完整的形象。空间在故事中以两种方式起作用：只是一个结构，一个行动的地点；完全留在背景中空间可以静态地（如睡觉）或动态的（如开车）起作用。（160-62）内容与功能内容与功能2024/2/26 周一.19城市异托邦就其叙述者而言，可分为两种形态：其一，叙述者亲身体验了城市异托邦文化空间，尔后通过创作来表现，这是其核心形态；其二，叙述者没有亲身体验城市异托邦的文化空间，而是完全借助其他媒介（文字、影像、传言等）进行创作，从逻辑角度而言，其隶属于第一形态。城市异托邦作为想象的地理，是空间、知识、权力三位一体的集合体；叙述者在描写他者文化中的城市形象时，一般要经历凝视、想象、记忆、叙述等阶段；对于叙述者而言，是一种空间体验，对于城市异托邦而言则是一种文化表征。Heterotopia（异托邦）福柯：其他空间2024/2/26 周一.20城市异托邦的两幅面孔城市异托邦的两幅面孔 在不同的文化体系之间，城市作为异托邦，其具体形象可能千变万化，但依据逻辑上的二分法，最基本的面孔只能有两幅：其一，该城市文化与叙述者的文化以相异性为主；其二，该城市文化杂糅了叙述者的文化，体现出更多的相似性。城市空间（街道、核心区、标志性建筑景观）城市人的族群性 叙述者的态度2024/2/26 周一.2024/2/26 周一21全景敞视建筑福柯福柯：边沁的全景敞视建筑（panopticon）其构造的基本原理是：四周是一个环形建筑，中心是一座瞭望塔。瞭望塔有一圈大窗户，对着环形建筑。环形建筑被分成许多小囚室，每个囚室都贯穿建筑物的横切面。各囚室都有两个窗户，一个对着里面，与塔的窗户相对，另一个对着外面，能使光亮从囚室的一端照到另一端。然后，所需要做的就是在中心瞭望塔安排一名监督者，在每个囚室里关进一个疯人或一个病人，一个罪犯、一个工人、一个学生。通过逆光效果，人们可以从瞭望塔的与光源恰好相反的角度，观察四周囚室里被囚禁者的小人影。这些囚室就像是许多小笼子、小舞台。在里面，每个演员都是茕茕孑立，各具特色并历历在目。敞视建筑机制在安排空间单位时，使之可以被随时观看和一眼辨认。总之，它推翻了牢狱的原则，推翻了它的三个功能封闭、剥夺光线和隐藏。它只保留了下第一个功能，消除了另外两个功能。充分的光线和监督者的注视比黑暗更能有效地捕捉囚禁者。可见性就是一个捕捉器。福柯：规训与惩罚，第224页。.2024/2/26 周一22 Lefebvre develops what he calls a“conceptual triad”Edward Soja would later term it a“trialectics of spaciality”to address the different vortexes of his analysis:spatial practices,representations of space,and representational spaces.The first appears as a collective embodiment of an abstract realm of space;it comprises“the particular locations and spatial sets characteristic of each social formation.”The second,representations of space,offers the langue,“the signs,codes,and frontal relations”that underlie that very formation.Representational spaces appear as the individual parole,for they refer to“the clandestine or underground side of social life”(1991,33)Before Lefebvre,E.Cassirer has established a similar tripartite division in An Essay on Man:organic,perceptual and symbolic spaces.列斐伏尔在空间的生产一书中，对空间做了三个层面的区分。第一个部分是纯粹的空空间演演练（spatial practice），即现实生活的空间或者小说文本的幻想空间中人物和场景的一个表现或者说呈现。这是第一层次的空间。第二部分是空空间的再的再现（representations of space），它的英文翻译和法文原文其实有一点区别。它的意思是人在经由空间演练过程之中经历到的空间中所覆盖的或者本身具有的一些结构关系，比如说限制、法规或者说限制性的城市规划等。第三部分是所谓的再再现的空的空间（representational space），也就是说，我意识到了我所在的空间的历史积淀，包括的它的历史痕迹和传统（这是第一层次的空间）和法规、具体规划（这是第二层次的空间）的存在，经由我作为“人”的行动力和空间中的活动，去将前面两层空间展演出来。这就是列斐伏尔所认为的三个不同层次的空间之间的关系。Conceptualized spaceThe space we live in.23.2024/2/26 周一24 “We will give the name of chronotope(literally,time space)to the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature.This term space-time is employed in mathematics,and was introduced as part of Einsteins Theory of Relativity.The special meaning it has in relativity theory is not important;for our purposes we are borrowing it for literary criticism almost as a metaphor(almost but not entirely).What counts for us is the fact that it expresses the inseparability of space and time(time as the fourth dimension of space).We understand the chronotope as a formally constitutive category of literature;we will not deal with the chronotope in other areas of culture.“In the literary artistic chronotope,spatial and temporal indicators are fused into one carefully thought-out,concrete whole.Time,as it were,thickens,takes on flesh,becomes artistically visible,likewise,space becomes charged and responsive to the movements of time,plot,and history.This intersection of axes and fusion of the indicators characterizes the artistic chronotope.”M.M.Bakhtin,Forms of Time and of the Chronotope in the Novel:Notes toward a Historical Poetics(Brian Richardson(ed.),Narrative Dynamics:Essays on Time,Plot,Closure,and Frames,Columbus:The Ohio State University Press,2002),p.15.Bakhtins chronotope.25 空间是由人类活动生产出来的物质空间和隐喻空。场地（topos）：一些著名的定型组合，空间与事件之间的关系会变得一清二楚，如月光下阳台上的爱情；高山之巅好高骛远的幻想；小旅馆内的幽会；废墟中幽灵的出现；咖啡馆里的吵闹它们有时成为一个作家、有时成为一种运动、有时甚至成为一部小说的特色（如“床”）。当然，期待一个清楚地标示的空间起一个适当事件的结构作用，也可能会落空。人物所处的空间位置在一定时候常常影响到他们的情绪。时间与空间之间的关系对于叙述节奏是很重要的。当空间被广泛描述时，时间次序的中断就不可避免，除非对于空间的感知逐渐地发生（及时地），并因此而能被看作事件。其他其他观点点2024/2/26 周一.The city image and its elements paths edges districts nodes landmarks element interrelations the shifting images image quality26.designing the pathsdesign of other elementsform qualitiesthe sense of the wholemetropolitan formthe process of designCity form27.Cultural models of the city-Whose city?28.29.2024/2/26 周一30 the city as a text,and the text as a city.institutionalized disciplined whose city?the politics of the street community down town cultural centre transportation architecture(mass)media social norms factories,pollution,ads.,schools,universities,etc.Some basics.partitioned cities:spiritual and temporal walls divided cities:social walls translated cities:domesticating the foreign estranged cities:de-familiarizing home cultural confrontation in urban America a double life:the fate of the urban ethnic the city and I living with change the city as battleground the childs/womans/girls/farmers perception of the cityTopics for discussion31.叙事结构具有空间句法的状态 空间的破碎性和生成性在关于诗歌想象力的第一步现象学探索中，孤立地形象，发展这一形象的句子，诗歌形象闪耀其中的诗句甚或诗节，一起组成了一个个语言空间。累积的效果红酥手，黄藤酒，酥手，黄藤酒，满城春色城春色宫墙柳。柳。东风恶，欢情薄，一杯情薄，一杯愁愁绪，几年离索。，几年离索。错！错！错！32.颜色青春美感质地通感手女人之手情人、恋人之手 So wore night;the East was grey.(Browning,Serenade at the Villa)exhaustion,attritionthe relationship between the words wore and greyThe precision of a word depends to some extent upon its surroundings.(Yvor Winters)红 酥酥 手手细读分析分析33.她是一个高挑的黑发美人，身上长着许多美人痣：乳房上方有一个颗，肚子上方有一颗，膝盖上方有一颗，脚踝上方有一颗，臀部上方有一颗，脖子背上有一颗。这些痣都长在左侧，你朝上看再朝下看，基本排成一列：她头发乌黑如乌檀，肌肤雪白似白雪。（D.Barthelme,Snow White,p.3）白雪公主中的抽象画Ekphrasis（文字成像）:the representation of a visual composition in a literary work.34.When Caroline Meeber boarded the afternoon train for Chicago,her total outfit consisted of a small trunk,a cheap imitation alligator-skin satchel,a small lunch in a paper box,and a yellow leather snap purse,containing her ticket,a scrap of paper with her sisters address in Van Buren Street,and four dollar in money.It was in August 1889.She was eighteen years of age,bright,timid,and full of the illusions of ignorance and youth.Whatever touch of regret at parting characterized her thoughts,it was certainly not for advantages now being given up.A gush of tears at her mothers farewell kiss,a touch in her throat when the cars clacked by the flour mill and the threads which bound her so lightly to girlhood and home were irretrievably broken.（Theodore Dreiser:Chapter One,Sister Carrie）35.EQUILIBRIUMA destabilizing event that disrupts an equilibriumC decision by C-actant(the character who performs function C)to attempt to alleviate the function-A eventC C-actants initial act to alleviate the function-A eventH C-actants primary activity to alleviate the function-A eventI or I neg success(or failure)of the function-H activity36.“The chateau into which my valet had ventured to make forcible entrance,rather than permit me,in my desperately wounded condition,to pass a night in the open air,was one of those piles of commingled gloom and grandeur which have so long frowned among the Apennines,not less in fact than in the fancy of Mrs.Radcliffe.”(Poe,“Oval Portrait,”1977:103)Once we organize in chronological sequence the events this sentence reveals,we will probably interpret the causal relations according to these functions:A the narrator is too desperately wounded,his valet thinks,to spend the night outdoors in the ApenninesC the narrators valet decides to locate shelter for the narrator(the valet is the C-actantthe character who performs function C)C the valet breaks into a chateauH the valet establishes the narrator in a room inside the chateauI the valet succeeds in finding shelter for the narratorEQ the narrator is now ensconced indoors for the night37.Thank you!38.