西奥多·德莱塞论文：德莱塞自然主义文学的叙事艺术

西奥多·德莱塞论文：德莱塞自然主义文学的叙事艺术

【中文摘要】作为美国自然主义文学的勇敢开拓者，西奥多·德莱塞的自然主义文学呈现出与传统文学截然不同的神采风貌，这既源于作家本人的开创精神，又源于作家对自然主义文学创作技巧的自觉吸收。自然主义文学奉“真实感”为最高原则，包括外部的客观“真实”和内在的主观“真实”。本文旨在从“真实”的角度探索德莱塞自然主义文学的叙事艺术，主要从叙事话语、叙事结构和叙述视点三个方面进行分析。一、独特的叙事话语。德莱塞自然主义文学独特的叙事话语主要体现为“非个人化”叙事，即通过运用“非个人化”的叙事技巧和自由间接引语保持作家叙事态度上的客观中立，从而实现作品在整体上的“真实感”。这种叙事话语打破了传统小说过分表露作者本人情感态度的倾向，使作品呈现出客观冷静的风格。德莱塞的“非个人化”叙事从两个方面实现：一是将叙述视角转换，叙事主体隐匿起来，通过调整叙述人与作品人物之间的距离加强小说的客观性和真实感，此时叙述人非常隐蔽，可感知度很小；二是大量使用自由间接引语，将人物话语和叙述人话语紧密结合，叙述人在故事的发展进程中并未直接“现身”，而是隐藏其后，读者找不到叙述人“在场”的痕迹。二、叙事的“空间性”结构。德莱塞在叙事结构上采用“空间性结构”叙事，摒弃传统小说中封闭完整的“线性结构”，使传统小说中的线性物理时间碎裂成为无数“偶然”的瞬间，随之而来的细

节之缤纷绽放进一步营造了小说细微之处的“真实”。这种空间主要表现为一种“情境性空间”，即生活情境。生活的横断面如绘画般铺展开来，如此设置带来的是饱含生活气息的细节绽放，必然性被层出不穷的偶然性取代，生命的本真状态在文本中客观地展现出来。三、叙述视点的“向内转”。德莱塞从生理和心理两个方面描写“生物的人”，人是本能的载体、遗传的产儿、环境的奴隶，表现出一种“类型化”的特征，即源于生理-心理的富有激情的“气质类型”。人物类型又分为两种：一种是“人虫”，如赫斯特伍德、克莱德·格里菲斯，他们是个人欲望的牺牲品；另一种是“人兽”，如柯帕乌、嘉莉妹妹、尤金·威特拉，他们是所向无敌的超人。建立在生理分析之上的心理分析使人物的两种“气质”类型真实可感，隐藏于外在客观真实之下的内在真实通过叙述视点的“内转”也得以实现。

【英文摘要】As one of pioneers in American naturalism, Theodore Dreiser’s naturalism differsenormously from traditional literature. It is not only because of the author’s innovative spirit,but also result from consciously absorbing from creative skills of naturalism.“Real sense”isregarded as a paramount principle in the naturalism, which includes outer objective reality andinner subjective reality. This paper will discuss the narrative art of Dreiser’s naturalism from theaspect of“real”which can be extended from three

perspectives as follow: narrative discourse,narrative space, and narrative visual point.Chapter One：Unique narrative discourseImpersonal narration is a particular feature in narrative discourse of Dreiser’s naturalism. Itmeans that the narrator’s neutral attitude and objective tone as well as the “real sense”of theentire work can be achieved by using the narrative skills of“impersonal”and indirectquotations. A breakthrough from inclination of over disclosure on the author’s emotion intraditional novel is made by this kind of narrative discourse and it also brings objective andcalm characters into novel. Dreiser’s narration of impersonal is demonstrated on two aspects.One is the changes of narrative visual point, in which the narrator is hided and the distancebetween narrator and figures in the novel is adjusted to enhance its objectivity and real sense. Inthis situation, the narrator is so secluded that can be hardly perceived. The other is the plentifulindirect quotations. The joint combination of narrator’s discourses and characters’discoursesmake readers cannot find trace of the on-site narrator, who didn’t appear directly but is hidedbehind in the process of story.Chapter Two：Spatial structure of narrationSpatial structure is adopted