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论《隐蔽的脸——藏地神子迷踪》叙事模式

On the Narrative Pattern of Hidden Face:the Path of a Tibetan Spirit
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摘要 《隐蔽的脸》是一部叙事手法极有特色的长篇小说,从预叙看,除常规预叙外,还采用了梦幻、卦象、预言、"画"等预叙形式;在倒叙上,采用了补充倒叙和对比倒叙,前者对事件进行解释、补充说明,后者通过对过去的回顾,与当前事件形成对比;在时空交错上,既有宏观层面也有微观层面的。小说出现了三类叙述者:"我"属于第一人称叙事,"我"是藏地村庄变迁的见证者,叙事具有亲切感和可信度,"我"具有神子和凡人双重身份,在现在、过去和未来中穿越,给全书添上一层神秘色彩;第二类叙述者采用第三人称隐身全知视角叙述,叙述视角转换有效弥补了第一人称叙述的限制,带来了新的审美体验;第三类叙述者由小说中的某个人物充当,由此产生二度叙事,起到丰富叙事技巧,使叙事变得灵活多变的艺术效果。 In addition to the conventional pre-narration,Hidden Face also applies dreams,images,prophecy, " painting" and other forms of narration.The paper also uses supplementary flashback and contrast flashback,the former explains and supplements the event,while the latter,by reviewing the past,contrasts with the current events.Besides the phenomenon of interleaving time and space both in the macro level and micro level appears in the novel.There are three kinds of narrators in the novel:first person narrator "I" is a witness to the vicissitudes of the Tibetan village,which makes the narration have a sense of intimacy and credibility,meanwhile "I" have a dual identity of God and man,which adds an atmosphere of mystery to the book by transcending time and space;the second kind of narrator adopts the perspective of the third person omniscient narration with the conversion of narrative perspective making up for the limitation of the first person narration and bringing new aesthetic experience;the third kind of narrator is acted by certain figure in the novel,resulting in a re-narration,which enriches the narrative skills and makes the narration become more flexible and interesting.
作者 马迎春
出处 《兰州文理学院学报(社会科学版)》 2018年第1期18-23,共6页 Journal of Lanzhou University of Arts and Science(Social Science Edition)
关键词 叙事模式 预叙 倒叙 时空交错 叙述者 narrative pattern pre-narration flashback interleaving time and space narrator
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二级参考文献4

  • 1格绒追美.家园[A]成都:四川民族出版社,200533. 被引量:1
  • 2格绒追美.失去时间的村庄[M]成都:四川民族出版社,20053. 被引量:1
  • 3格绒追美.后记[A]成都:四川民族出版社,2005222223. 被引量:1
  • 4沙尔·波德莱尔.结束语[A]北京:生活·读书·新知三联书店,2004175. 被引量:1

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