《诺桑觉寺》的情感叙事与读者的审美焦虑  

Affective Narration in Northanger Abbey and Aesthetic Anxieties in Its Readers

作　　者：熊木清 杜坤 XIONG Muqing;DU Kun

机构地区：[1]四川外国语大学外国语文研究中心,重庆400031 [2]四川外国语大学英语学院,重庆400031

出　　处：《外国语文》2021年第6期23-30,共8页Foreign Languages and Literature

基　　金：国家社会科学基金重大项目“认知诗学研究与理论版图重构”(20&ZD291)的阶段性成果。

摘　　要：情感问题自古就是中外文学创作和研究中的一个核心命题。在叙事文学中,情感是表现的对象和驱动力,也是激发读者审美焦虑和审美共情的要素。在情感叙事领域,奥斯丁是一个卓有成就的开拓者。在小说《诺桑觉寺》中,她倾注自己的情感,生动描述了婚龄女性在走向成熟、走向婚姻中的情感历程,并以精湛的艺术手法在主题思想、人物刻画和叙述策略等方面设置了复杂精致的情绪结构,在单一的婚恋题材中表现了并不单一而又主次分明的主题,刻画了一个真实而又不同于传统的女主人公,综合运用了第三人称、自由间接引语和作者介入多种叙述手法,具有独特的审美情绪强度。Emotion is one of the critical issues in the Chinese and foreign literary creation and studies ever since ancient times.In narrative literature,emotion is both the object of representation and the driving force,and meanwhile,it is the basic element for triggering aesthetic anxieties and empathy in the reader.In the field of emotional narratives,Austen is an accomplished pioneer.In Northanger Abbey,she pours her emotions into the novel,vividly describes the emotional course of the young ladies towards their maturity and marriage,and sets up with her exquisite artistic techniques the complex and sophisticated emotional structures concerning the themes,characterization,and narrative strategies.She whereby expresses multifaceted themes with marriage being the central one,depicts a life-like heroine different from conventional female characters,and integrates the third-person point of view,free indirect discourse,and author intrusion,and all these techniques give the novel unique aesthetic intensity.

关 键 词：奥斯丁 《诺桑觉寺》 情感叙事 审美焦虑 

分 类 号：I561[文学—其他各国文学]