《沙岸风云》与新小说在文体风格与叙事技巧上的靠近和偏离

发布时间：2018-05-28 14:27

本文选题：《沙岸风云》 + 新小说　；参考：《大连外国语大学》2013年硕士论文

【摘要】：于连·格拉克原名路易·普瓦提埃，是二十世纪别具一格的作家之一，很难将他归到任何流派之中，他对自己的私人生活讳莫如深，，更因为拒绝了1951年的龚古尔文学奖而声名远播。他的代表作《沙岸风云》讲述了一个奇特的故事：小说的所有情节都在暗示着一场从未在小说中描写过的海战。小说中的人物和小说的读者都在等待着某个事件的发生，可是这个等待在小说结尾也没有得到满足。小说的主人公阿尔多在一次情场失意之后，向奥尔塞纳政府申请到遥远的希尔特海岸做观察员，海岸另一端的法尔盖斯坦与奥尔塞纳自三百年以来就一直处于冷战阶段，双方达成默契不跨越边境线，然而阿尔多的到来打破了这片平静，他最终穿越了边境线，引发了两国的战争，最终导致了奥尔塞纳的灭亡。本文将从比较的观点出发，选取新小说派作为参照标准，通过文体学与叙事学角度的分析，阐述《沙岸风云》与新小说派的靠近及偏离。在引言中，我们将会对于连·格拉克的生平做一简要介绍，介绍选题的理由和目的，并阐明将《沙岸风云》与新小说进行比较的原因，明确本论文将要解决的问题。在第一章中，我们将讨论批评家们对格拉克的分类问题，其中格拉克与超现实主义的关系是我们讨论的一个关键方面。另外，在这一章中，我们还会介绍对作家及作品的国内外研究现状。第二章分别从文体学和叙事学的角度讨论《沙岸风云》与新小说的靠近。文体学角度具体分析标点符号的使用，通过词汇手段表现出来的与日常参照标准的距离。叙事学方面分析人物的塑造，时间和空间的统一。第三章同样从文体学和叙事学的角度进行分析，不同于第二章的是，在这一章节中，我们要讨论《沙岸风云》与新小说的偏离。文体学角度主要考察修辞手段的运用；叙事方面主要讨论故事与情节的问题。在经过具体的分析之后，我们会发现使得《沙岸风云》与新小说能够靠近的原因在于两者写作目的的趋同性：二者皆是对小说艺术的探讨，只是由于文学倾向的不同（新小说注重对写作技巧的探索，而格拉克则是以一本完美的小说来展现小说艺术该具备的特质）又导致了二者的偏离。
[Abstract]:Originally named Louis Poitier, he was one of the unique writers of the twentieth century, and it was difficult to bring him into any genre, and he kept his private life a secret. It is also famous for rejecting the 1951 Gong Gul Prize for Literature. His masterpiece, Sandshore, tells a strange story: all the plots of the novel imply a naval battle that has never been described in the novel. The characters and readers of the novel are waiting for an event, but the wait is not satisfied at the end of the novel. Aldo, the protagonist of the novel, after a disappointment, applied to the government of Orsena to be an observer on the distant coast of Sirte, where Farghestan and Orsena had been in the cold war for three hundred years. The two sides reached a tacit agreement not to cross the border, but the arrival of Aldo broke the calm, he finally crossed the border, triggered a war between the two countries, eventually led to the destruction of Orsena. This paper, from the point of view of comparison, selects the New Fiction School as the reference standard, through the stylistic and narratological analysis, expounds the approach and deviation between Shaan Fengyun and the New Fiction School. In the introduction, we will give a brief introduction to the life of Lian Grirac, introduce the reason and purpose of choosing the topic, clarify the reasons for comparing Shahean Fengyun with the new novel, and clarify the problems to be solved in this paper. In the first chapter, we will discuss the classification of Griak by critics, in which the relationship between Grirac and surrealism is a key aspect of our discussion. In addition, in this chapter, we will introduce the domestic and foreign research status of writers and works. The second chapter discusses the approach of the new novel from stylistics and narratology. From the stylistic point of view, the use of punctuation marks is analyzed in detail. Narratology analyzes the shaping of characters and the unity of time and space. The third chapter is also from the perspective of stylistics and narratology, which is different from the second chapter. In this chapter, we will discuss the deviation between "Shahean Fengyun" and the new novel. Stylistic perspective mainly examines the use of rhetorical devices and narrative aspects mainly discuss the story and plot. After specific analysis, we will find that the reason why "Shahean Fengyun" and the new novel can get closer is the convergence of their writing aims: both are discussions on the art of fiction. It is only because of the different literary tendencies (the new novel focuses on the exploration of writing skills, and Griak uses a perfect novel to show the characteristics of the novel art) that the two deviate from each other.
【学位授予单位】：大连外国语大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I565.074

【共引文献】