对话与反思:《朋友》对青少年认知发展的艺术呈现  

Dialogues and Reflections:Artistic Presentation of Adolescent Congnitive Development in The Friends

作　　者：芮渝萍[1] 

机构地区：[1]宁波大学外语学院

出　　处：《外国文学研究》2015年第6期101-108,共8页Foreign Literature Studies

基　　金：教育部人文社会科学研究一般项目"当代美国青少年文学研究"【项目批号:11YJA752016】;浙江省哲学社会科学规划课题"美国青少年文学研究"【项目批号:11JCWY18YB】的阶段性成果

摘　　要：青少年文学创作的一个叙事难点是寻找到一种有效的叙事方式,既具有鲜活的艺术表现力,又契合青少年不成熟的认知能力。《朋友》充分发挥了对话的叙事张力,构建出复杂的对话机制——作为叙事者反思叙事的外视角和作为事件亲历者的内视角之间的对话、主人公内心世界与客观世界的对话、分裂自我之间的对话、人物之间的对话等等。对话帮助主人公逐步摆脱以自我为中心的独白式思维惯性,在推动人物自我认知和社会认知不断发展的同时,也推动着故事情节的发展和深化。One of the narrative dilemmas of adoleccent literature is to find a narrative pattern that can present the sophisticated artistry of a literary work in conformity with the immature cognition of the adolescent characters. Employing dialogue as a narrative device, Rosa Guy constructs a complicated dialogic mechanism in The Friends, including the reflective discourse of the narrating-self versus the point of view of the experiencing-self, the subjectivity of the protagonist versus the objective social circumstances around her, the dialogue between the split selves, and the dialogue between the characters. All in all, dialogues help the the protagnist eventually cast off her self-centered monological mindset. By improving her self-cognition and social cognition, dialogues run as an impetus to the plot as well as the character development.

关 键 词：《朋友》 对话叙事 认知发展 青少年文学 

分 类 号：I712.074[文学—其他各国文学]