摘要
长期以来,叙事学界关注的是民间故事、神话和小说的叙事,而忽视了戏剧的叙事。通过对《哈姆莱特》的分析,可以发现其中的戏剧叙事策略:首先,戏剧中多个叙述者的外聚焦视角叙事不仅能揭示人物心理活动,而且还能造成一种特殊的叙事气氛,提高叙事强度并引导叙事发展;其次,作为"魔器"的"戏中戏"叙事是本剧叙事进程中的关键转折点;最后,哈姆莱特国王的鬼魂是叙事的"国王",主宰着全剧的叙事走向。上述叙事策略显示出莎翁独到的戏剧叙事艺术,同时还泽被后世,促进了戏剧艺术的发展。
The narrative circle has long been studying the narrative of folktales, myths and novels with the exception of drama, but in fact drama is also a narrative style. The dramatic narrative techniques have been discussed through the analysis of Hamlet. First of all, the exterior focalized narration with many narrators in Hamlet not only reveals characters＇ inner world, but also constitutes a particular narrative atmosphere so as to improve the strength of narrative and impel its progress. Secondly, as a ＂trickster＂, the performance of ＂play - within - play＂ functions as the pivotal turning point in the dramatic narrative of the play. Finally, Hamlet, the King, dominates the narrative of the play as the ＂King of narrative＂. All in all, the above mentioned narrative strategies show Shakespeare＇s unique dramatic narrative techniques and positively influence the later dramatists, so the art of drama is improved.
出处
《湖州师范学院学报》
2010年第4期18-21,共4页
Journal of Huzhou University
