欲望“真实”的彰显:《名利场》主人公的结构命运叙事  

Demonstration of“Reality”in Desire:Narration of the Protagonists’Structural Fates in Vanity Fair

作　　者：李珍[1] LI Zhen(Overseas College,Sanming University,Sanming 365000,China)

机构地区：[1]三明学院海外学院,福建三明365004

出　　处：《三明学院学报》2021年第5期79-85,共7页Journal of Sanming University

基　　金：福建省中青年教师科研项目(JAS180442);三明学院科研发展基金项目(A201802)。

摘　　要：格雷马斯在结构语义学中建立了语言系统论和二元对立观、语言符号的指涉性、叙事语义层次论等重要叙事理念。而《名利场》的创作虽早于格氏理论,却因从物质、精神两个维度围绕两位女主人公的命运展开多重二元叙事,将人物角色与行为模式语符化,有机安排叙事材料以巧妙建立反讽、因果等不同逻辑的语符列来传达个人“欲望真实”等,同格氏在结构语义叙事上形成了文本创作与理论的完美契合,从而于无形中将结构叙事的起源时间提早至19世纪上半叶,某种程度上也构成了格雷马斯结构语义学的理念渊源。此外,这种叙事结构设计与语义表达技巧,使作者自身崇尚亲情、爱情、友情的深层欲望“真实”也被逐步演绎出来。Greimas established some important concepts as View of Dual Opposition in the setting of Linguistic System Theory,the Referential Nature of Linguistic Signs,and Narrative Semantic Hierarchy in his Theory of Structural Semantics.While W.M.Thackeray,despite having created his representative work Vanity Fair much earlier than Greimas did in modern time,formed a perfect coincidence with Greimas in structural semantic narration like practice and theory by exerting various dual-opposition narrations physically and spiritually on the fates of the two female protagonists,transforming the models of characters and their behaviors into solid signs,as well as designing the ironic or causal relationships organically between the narrative process and the end,thus shifting intangibly the budding period of structural narration ahead as early as the first half of the 19th century,constituting the ideological origin of Structural Semantics theory to a certain extent.Besides,through the subtle design for narrative structure and the excellent techniques in semantic expression,Thackeray succeeded in revealing his"reality"in deep desire for kinship,romance and friendship logically.

关 键 词：欲望“真实” 结构语义学 《名利场》 命运叙事 

分 类 号：I561.074[文学—其他各国文学]