走向“黄金世纪”的情节——什克洛夫斯基后俄国形式主义时期的情节理论探析  

On the Plot of Golden Century——Analysis of Shklovsky's Plot Theory after the Period of Russian Formalism

作　　者：杨燕[1] 

机构地区：[1]哈尔滨师范大学文学院,哈尔滨150025

出　　处：《唐都学刊》2015年第4期71-74,共4页Tangdu Journal

基　　金：2013年国家社会科学基金项目:"形式主义诗学视野下的什克洛夫斯基的散文创作研究"(13BWW036)的阶段性成果;2014年黑龙江省教育厅人文社会科学项目(面上):"什克洛夫斯基‘陌生化’诗学研究"(12542118)

摘　　要：20世纪西方诗学中叙事理论具有重要地位,俄国形式主义的叙事理论对其产生了重要影响,但被关注的程度明显不足,其中什克洛夫斯基的叙事理论最具代表性。情节理论是什克洛夫斯基叙事理论的核心,其前期被学界广泛关注,但后俄国形式主义时期的情节理论则鲜有谈及。后俄国形式主义时期,什克洛夫斯基的情节一改前期强调方法的绝对地位,而将其定义为分析的体系,并且有作家的世界观参与到艺术素材的戏拟过程中,通过制造矛盾冲突以使读者跃出日常生活,进入作家营造的思想空间,但这里的思想并非传统文学批评中的社会学范畴的思想,而是专注于人类诗意栖居的精神世界,相对于前期对个人审美心理的关注,后俄国形式主义时期跃升为对全人类精神世界的关照,具有越来越深厚的人文内涵。Narrative theory of the western poetics in the 20th century has occupied an important position, yet, Rus-sian formalism, represented by Shklovsky＇s narrative theory, attracted little attention. Plot theory was the core ofShklovsky＇s narrative theory, which brought attention to the academic world at its early time, but after the period ofRussian formalism, plot theory was rarely talked about. Afterwards, Shklovsky changed his emphasis on the abso-lute position of method, which was defined as the analytic system, and writers＇ world outlook was integrated into theart material by means of parody and by creating conflicts to make readers get out of the daily life and into thewriters＇ thinking space. However, the thought did not necessarily refer to the one in the sociological category of theChinese traditional literature criticism, but refer to the spiritual world for poetic human life. Compared to the focuson personal aesthetic psychology, it has cared more about the mankind＇s spiritual world with profound humanisticconnotation.

关 键 词：俄国形式主义 情节 黄金世纪 

分 类 号：I512.06[文学—其他各国文学]