论《聊斋志异》中的“限知视角”叙事——兼论中国文言小说视角控制技巧的演进  

On the Limited Point of View in the Stories of Liao Zhai Zhi Yi——And Related Techniques of Viewpoint Control in Classical Chinese Novels

作　　者：段宗社[1] 

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《陕西师范大学学报（哲学社会科学版）》2016年第6期41-47,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社科基金一般项目"中国古代文论中‘法’的形态与理论的现代阐释研究"(10BZW028)

摘　　要：中国文言小说传统中,随着叙事由散漫走向精致,以晋宋之际的《白水素女》为标志,形成了一种"聚焦"叙事技巧。唐人沈既济《任氏传》为狐女任氏作传引入两位视点人物以展示人物事迹的方式,不同于以往史传文中由作者直接讲述的方式,标志着中国文言小说已发展出视角控制技巧。蒲松龄《聊斋志异》发挥这一技巧,发展出纯粹的"限知视角"叙事艺术。从对《黄英》《王货郎》等小说的分析可以看出,"限知视角"在《聊斋志异》长篇和短篇的叙事中已经广泛运用,获得了曲折含蓄而洁净明雅的叙事效果。视角控制技巧在古代作家那里主要借助对小说文本领悟而传承。With the progress of narrative techniques,the focusing narrative mode was developed in classical Chinese novels marked by BAI SHUI SU NV in the Eastern Jin Dynasty. Ren The Fox Fairy by Shen Ji-ji（ 750-800AD） symbolizes that the techniques of viewpoint control had been cultivated from the omniscient narrative in historical biography. The Limit knowledge perspective,in the purest sense,had been developed in LIAO ZHAI ZHI YI by Pu Song-ling（ 1640-1715）,who gave up the traditional all-known narrative pattern and applied the limited angle of view to narrate his long and short stories. Pu Song-ling cultivated his narrative skill mainly through understanding previous novels.

关 键 词：聚焦叙事 限知视角 《聊斋志异》 

分 类 号：I207.41[文学—中国文学]