叙事欲望与情节编织——论拜厄特小说《占有》的历史叙事  

Narrative Desire and Emplotment:The Historical Narrative in Byatt’s Possession

作　　者：王艳萍[1] WANG Yanping

机构地区：[1]集美大学外国语学院

出　　处：《国外文学》2023年第2期131-140,共10页Foreign Literatures

基　　金：国家社会科学基金一般项目“英国新历史小说的历史叙事研究”(项目编号:21BWW016);福建省社会科学规划项目“乔治·艾略特在维多利亚文学场的声誉建构研究”(项目编号:FJ2020B091)的阶段性成果。

摘　　要：本文拟从彼得·布鲁克斯的叙事欲望理论出发,分析《占有》这部小说所表现出的叙事、欲望与情节编织之间的关系。叙事欲望推动叙事者编织情节,而情节编织的好坏也体现着叙事者欲望实现的程度。在其理论中,欲望指的不是对某个具体客观事物的占有欲,而是拉康所说的对“原物”的欲望,是推动人不断言说的动力。拜厄特采用后现代的写作方法再现了一个支离破碎的历史,同时也采用“全知叙事者”、“设置结局”这两种传统叙事手法,满足了小说人物、读者及作者对“连贯性与完整感”的本能欲望。旨在表明:尽管我们永远不可能实现对“原物”的欲望、抵达真理之彼岸,但可以通过叙事来赋予生活以意义、减轻焦虑感。This paper attempts to analyze the relationship among narrative,desire and emplotment in the novel Possession from the perspective of Peter Brooks'theory of narrative desire.Narrative desire drives the narrator to weave the plot,and the quality of the emplotment reflects how well the narrator's desire is satisfied.In Brook's theory,desire does not refer to the desire for a specific objective thing,but what Lacan calls the desire for the“the Thing”(das Ding),which is the driving force that prompts people to keep speaking.By adopting postmodern writing methods,Byatt represents a fragmented history.Meanwhile,she employs two traditional narrative techniques of“omniscient narrator”and“setting the ending”,satisfying the instinctive desires of the novel's characters,readers and the author for a“sense of coherence and closure”.Her paradoxical writing method aims to show that although we can never realize the desire for the“the Thing”and reach the ultimate truth,we can give life meaning and reduce anxiety through narrative.

关 键 词：《占有》 叙事欲望 情节编织 “连贯性与完整感” 

分 类 号：I561.074[文学—其他各国文学]