《贝奥武甫》的时间观念和偏离叙事  

Concepts of Time and Digressive Narration in Beowulf

作　　者：杨开泛 YANG Kaifan(School of Foreign Studies,Wenzhou University,Wenzhou 325035 China)

机构地区：[1]温州大学外国语学院

出　　处：《中世纪与文艺复兴研究》2021年第1期132-143,共12页Medieval and Renaissance Studies

基　　金：国家社科基金项目(14CWW021)的阶段性成果。

摘　　要：在《贝奥武甫》批评史上,作品中的偏离叙事一直是争论的焦点。强调《贝奥武甫》艺术完整性的学者从各个角度来论证偏离叙事和主体叙事之间的关联性,认为这两者之间存在内容上的映射和对照。而强调其历史价值的学者则把偏离叙事解释为作品的艺术缺陷,认为这是口头文学的局限性。面对这样一个争论不休的问题,认知语言学家提出的形式和思维同构性的观点为这一问题的解决提供了另一种思路。从这个角度出发,问题的关键在于盎格鲁-撒克逊人的思维模式何以能够承载这一艺术形式。格鲁-撒克逊人把时间分为过去和非过去的二分观念拉近了过去和现在的距离,造成过去和现在的并置,这是《贝奥武甫》听众理解和接受该作品的思维基础。《贝奥武甫》中的偏离叙事并非一种艺术缺陷,而是符合盎格鲁-撒克逊时期听众思维模式的一种叙事策略。In the history of Beowulf criticism,the digressive narration is the focus of controversy.The critics who emphasize the integrity of the work argue for the connections between digressive narration and main narration,and claim that the two overlap in their content.In contrast,the critics who value the historical significance of Beowulf regard the digressive narration as an artistic flaw which is the consequence of oral literature.The cognitive linguistic idea of isomorphism between form and thinking provides a new perspective to account for the digressive narration.From the angle of cognitive linguistics,the problem concerning the digressive narration is how the Anglo-Saxon ways of thinking can accept this artistic form.The perception of time as past and non-past shortens the distance between past and present,and juxtaposes past and present events.This perception of time determines how the Anglo-Saxon audience read and receive Beowuf.Rather than a sign of flawed art,the digressive narration is a narrative strategy adapting to the thinking of the Anglo-Saxon audience.

关 键 词：《贝奥武南》 过去和现在的并置 偏离叙事 形式和思维的同构性 

分 类 号：G63[文化科学—教育学]