论约翰·巴思《曾经沧海》叙事策略的创新维度  

Dimensions of Innovative Narrative Strategies in John Barth’s Once Upon a Time:A Floating Opera

作　　者：宋明[1] 

机构地区：[1]四川外语学院研究生部

出　　处：《外语与外语教学》2011年第4期88-91,共4页Foreign Languages and Their Teaching

摘　　要：约翰·巴思善于探索叙述方式的创新并用小说文本来演示后现代小说叙述理论，早已经被认为是当代小说家中最为重要的后现代文学理论家之一。《曾经沧海》从多个方面体现了巴思小说叙述艺术的创新。本文从分析小说中的“双叙述者”、音乐叙述线条以及叙述框架策略等方面入手来探讨作品中叙事创新的问题，认为双叙述者的运用超越了传统单一叙述者的局限，开创了叙述者的多元化格局，而歌剧的形式与音乐叙事线条不仅增添了作品的音乐节奏也体现了叙述的多元性；同时，作品采用“框架策略”，构建了《曾经沧海》与巴思以往发表的作品之间的自涉，并因此赋予了小说强烈的元虚构性。因此，巴思在叙述上的探索性创新为后现代小说叙述理论提供了文本范式，而对其叙事策略创新维度的理解对我们研究美国后现代文学也具有启示性意义。John Barth,who excels at exploring the innovation of the narrative techniques and demonstrating postmodern narrative theory by means of the novelistic text, has long been construed as one of the most important postmodern theorists among the contemporary writers. Once Upon a Time： A Floating Opera shows his originality of narrative techniques from several dimensions. This paper explores his innovation of narrative techniques by analyzing the double narrators, the musical narrative lines and framing narrative strategy. The writer contends that the employment of double narrators has overcome the limitation of traditional simple narrator and initiated a plural pattern of narrators whereas the musical narrative lines in the form of opera have increased the cadence of the text and inaugurated the pluralism of the narrative. Simultaneously, the framing device establishes a self-referential relation,between the novel and the author＇s other previously published works which increases strongly the metaficitonality. Therefore, Barth has provided a theoretical paradigm for the postmodern narrative theory via his explorative narrative innovation and the understanding of his narrative strat- egies is of apocalyptic significance in the study of American postmodern literature.

关 键 词：约翰·巴思 《曾经沧海》 叙事策略 双叙述者 叙事线条 框架策略 

分 类 号：I06[文学—文学理论]