《觉醒》:穿越时空的心灵之“视”  

A Study of Narrative Perspectives of The Awakening with Guo Xi's Theory of "Three Distances"

作　　者：万雪梅[1,2] 

机构地区：[1]江苏大学外国语学院 [2]上海外国语大学英语学院

出　　处：《外国文学研究》2010年第2期143-150,共8页Foreign Literature Studies

基　　金：江苏省教育厅高校哲学社会科学基金指导项目"凯特.肖邦的和谐婚恋观"【项目编号:08SJD7500021】;江苏大学人文社科重点建设项目【项目编号:JDR2006A11】的阶段性成果

摘　　要：凯特·肖邦的《觉醒》不仅是一部美国女性文学史上的经典之作,也是一部美学意义上的成功小说。作者的叙事视角穿越时空与我国宋代郭熙《林泉高致》中的"三远"有共通之处。它所展示的精神境界与现代西方叙事精神、与郭熙"远论"中所揭示的中国艺术精神相互交融,丰富我们的审美情趣,启示我们:心灵的倾向比人眼的视角更加本质。The Awakening written by the American woman writer, Kate Chopin （ 1851 - 1904） is often studied as a feminist novel. However, it is also a first-rate novel that we can interpret from aesthetic perspectives. In The Awakening, Kate Chopin＇ s narrative perspectives can be viewed with the theory of the so-called ＂three distances＂ on perspective of the Northern Song painter Guo Xi （ca. 1020 -1090） in his work ＂The Lofty Message of Forest and Streams＂ （Linquan Gaozhi） in Chinese history. The two works share the similar ways in showing us the common beauty between Spiritual Realm issued by Western narrative perspectives and the spirit of Chinese art presented by Guo Xi＇ s theories of perspective, enrich our aesthetic tastes and lead us to the recognition that the inclination of one＇ s heart is much more essential than the orientation of his eyes.

关 键 词：《觉醒》 叙事视角 心灵之“视” “三远” 

分 类 号：I712.074[文学—其他各国文学]