叙事时距和时序艺术化操作背后的那座认知冰山

发布时间：2018-05-17 09:14

本文选题：叙事时距/时序 + 序列/数量象似性　；参考：《江西师范大学》2010年硕士论文

【摘要】：叙事作品中的叙述涉及两个层面:即热奈特所定义的“故事”和“叙事”(又称为“叙事性的话语”或“文本”)。“故事”是指处于顺时次序之中的那些尚未被形诸于语言的材料;“叙事”包括作者添加到故事上去的所有特征,特别是时间序列的改变、人物意识的呈示、叙述者对叙事篇幅的控制以及对读者注意的支配等。其中,叙事时距(速度和节奏)和时序是传统而又经典的话题。至于以往的相关研究,有些是针对时距变化和时序处理的类型等本体论方面,但是更多的学者仅仅把它们视为一种叙事工具、手段或策略。这些学者来自不同领域:外国哲学、逻辑学、中国古代文学(史)、中国现当代文学、文艺学、汉语言文字学、比较文学与世界文学、中国古典文献学、中国民间文学、新闻学、英语语言文学、影视编导与动画设计、广播电视艺术学和学科教学(语文)等等,用之于写作教学、译文评估、影视作品的美学欣赏和文学文本分析等。特别是对某些类型、某部、某位作家的文学作品,或某位导演的影视作品之时距和时序进行了细致地分析,阐述了其节奏之美和时间倒错带来的扣人心弦的效果。当然,还有认知心理学者如黄希庭,刘瑞光和张志杰等对时距知觉中锚定效应、间断期望效应和情绪效应进行的实证研究。然而,这些研究大多数是从超越句子的、宏观的层面出发,极少借助语言学的例证,也很少关注各种时距和时序类型背后的操作依据。本文旨在弥补这一缺憾,从认知的视角探讨小说叙事中作者对叙事时间进行处理的认知理据性、认知驱动之下的整座冰山。时距是故事持续的时间与叙事持续的时间长短之比。由于叙事持续的时间测定的难度性,热奈特提议以空间单位作为依据,事实上这是从空间认知域映射到时间认知域的结果。两种时间长短之比反映出叙事的速度和节奏,也暗示了作者对注意力分配的状况。故事持续的时间长,文本篇幅短为快速,反之则为慢速,这是数量象似性的体现。在小说文本之类的语篇场中,人物由于其特定姓名、已携带或演变着的心理和性格特点,往往获得图形地位,很可能成为注意的焦点,得以突显,而环境则为背景。同时,各个事件由于给予的注意各不相同,从而出现只开启注意窗(始点窗、途中窗和终点窗)中一个、二个的现象,造成对同一事件不同的识解操作。仅用一个或二个窗口激活整个事件系列,也正是转喻机制的推广和拓展作用,也依赖于人类感知的格式塔倾向。而对未开启之窗的信息补差依赖于后台认知。时序包括故事时序和叙事时序,根据二者一致与否,区分出倒叙、顺叙和预叙等类型。它们是对序列象似性原则的应用或违背。从读者的角度而言,顺叙由于其旧信息+新信息的常规的、原型的、经济性的信息结构,耗费更少的解读能量;而倒叙和预叙由于其时间倒错,新信息在前、旧信息置后,打破常规,造成图式干扰,则需要更多的认知加工。实质上,阅读这一心理活动是同化和顺应两极互动的构建过程。
[Abstract]:Narration in narrative works involves two levels: "stories" and "narrative" (also called "narrative words" or "texts"). "Stories" refer to materials that have not yet been spoken in the order of time; "Narration" includes all the features added to the story by the author, especially in the story. It is the change of time series, the presentation of people's consciousness, the control of narrator's length of narration, and the domination of readers' attention.
Among them, narrative distance (speed and rhythm) and timing are traditional and classic topics. As for the previous related studies, some are aimed at the ontological aspects of time distance and time series processing, but more scholars only regard them as a narrative tool, means or strategy. These scholars come from different fields: Foreign Philosophy, logic Editors, Chinese Ancient Literature (History), Chinese contemporary literature, literature and art, Chinese language and Philology, comparative literature and world literature, Chinese classical philology, Chinese folk literature, journalism, English language and literature, film and television guide and animation design, radio and television art and subject teaching (Chinese) and so on, are used in writing teaching, translation evaluation, shadow In view of the aesthetic appreciation of the works and the analysis of literary texts, especially the time and time series of the literary works of some types, some of the writers, or the film and television works of a director, the beauty of rhythm and the exciting effect of the time fall are expounded.
Of course, there is also an empirical study of the anchoring effect, discontinuous expectation effect and emotional effect in cognitive psychology, such as Huang Xiting, Liu Ruiguang and Zhang Zhijie. However, most of these studies are from the sentence and macro level, rarely using the examples of speech science, and little attention to the various time distance and timing types. The purpose of this paper is to make up for this shortcoming. From a cognitive perspective, the author explores the cognitive motivation of the author's processing of narrative time in narrative narrative, and the whole iceberg driven by cognition.
The time distance is the ratio of the duration of the story to the length of the duration of the narrative. Because of the difficulty of measuring the duration of the narrative, theret proposes to use the space unit as the basis, and in fact it is the result of mapping from the spatial cognitive domain to the time cognitive domain. The speed and rhythm of the two times are compared to the anti reflection narrative, and the author also suggests the author. The situation of attention distribution. The length of the story is long, the text is short, and the other is slow. It is the embodiment of the quantity iconicity. In the discourse field such as the novel text, the characters, because of their specific names, have been carried or evolved into the psychological and character characteristics, and are likely to become the focus of attention. At the same time, the environment is the background. At the same time, each event has different attention because of the different attention, thus only opening the attention window (starting point window, the way window and the end window) one, two phenomena, causing different understanding of the same event operation. Only one or two windows activate the whole event series, it is also the extension of the metonymy mechanism. And expansion depends on the Gestalt inclination of human perception, while the information supplement to unopened windows depends on background cognition.
Time series includes story time sequence and narrative time sequence. According to whether the two parties are consistent or not, they distinguish the types of flashback, Syria and pre Syria. They are the application or violation of the sequence iconicity principle. From the reader's point of view, the narration of the narration of the old information + new information with the conventional, prototype, and economic structure of the information is less energy. As the narration and pre narration are wrong in their time, the new information is in the front, the old information is set, the routine is broken, the pattern interference is caused, and more cognitive processing is needed. In essence, reading this psychological activity is the process of assimilating and complying with the interaction of the two poles.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I06

【参考文献】