《霸王别姬》小说文本和电影文本的叙事学比较

李碧华的小说《霸王别姬》展示了一个悲剧的爱情故事,从中不难发现依恋与背叛的主题。陈凯歌以此为剧本拍摄的电影《霸王别姬》,又为观众带来了别样的视听感受。这两种异质文本在故事、叙述和文本三个层面上除了某些相同之处外,又分别保持了小说和电影的独有特征,从而形成了不同的美学风貌和故事主题。但二者在带领读者和观众进入艺术世界的可能性和随之产生的感动却是殊途同归的。     

“We are Just as Confused and Lost as She is”: The Primacy of the Graphic Novel Form in Exploring Conversations Around Deafness

Cece Bell’s (El Deafo, Amulet, New York, 2014) is a middle childhood graphic novel memoir that explores the author’s experiences of losing her hearing and growing up with a severe hearing loss. As a graphic novel, the story is able to avoid a medicalized view of disability by combining image and text, a format that allows readers, those with hearing and those without, to step inside the narrative and deeply consider Bell’s experiences. The narrative elements typically found in graphic novel autobiography create a communal reading experience, which does not allow readers to forget who the book is about. After an analysis of the primacy of these narrative graphic novel elements in telling a story about a disability, this article shares the reading experiences of university students in exploring this story, during which students used both the image and text to help them confront misconceptions they had about deafness, broadening their understandings and experiences around disability.     

王蒙“季节系列”小说叙事技巧探析

在＂季节系列＂小说中,王蒙大胆地采取了灵活多样的叙事方式和叙事技巧。在叙述视角使用方面,王蒙采取日常生活中人物的亲历亲为的方式,既使人物活跃在故事中又能使人物跳出故事以反思者的身份引导读者不仅要关注故事本身更要关注其意义;人称使用则突破常规,随着抒情和议论的需要,三种人称灵活自如地交替变化,方便了抒情和议论,也扩展和深化了小说的主题,从而使小说主题变得复杂和多义;这些特别的方式和技巧也决定了叙事手段方面的特别,那就是在叙事的同时使用了大量的抒情和议论;作家直接介入小说,不时地提醒读者,作家所写的故事是真实存在的,其所表达的意义是有价值的。     

Narrative study of a high school English teacher’s beliefs about teaching students identified as having a disability

A qualitative study probing the connection between a high school English teacher’s lived experience and beliefs about teaching students identified as having a disability using interview story method was undertaken. Struggles with family quickly emerged as a dominant storyline in the participant’s discussion of her beliefs about teaching such students. The teacher’s value of diversity in students, regardless of disability/ability status, evolved from family relations. The narrative also illuminates the importance of persistence and compromise in preserving and developing relationships that extend to colleagues and students. Lessons learned from gathering the narrative are also discussed.     

Turning Ideologies Inside Out: Developing Young Readers’ Empathy for Critical Voices in Narrative Fiction

This article is located at the crossroads between two distinctive human traits, empathy and rational thought, with narrative emerging as a particularly powerful means to enable young readers to bring them together. Specifically, we discuss the role that critical literary exegesis plays in the development of empathic consciousness in literary readers. The discussion is conducted through the critical narrative discourse analysis of a short story that is widely read by Portuguese young students. The story deals with what has become a living experience for many students – emigration – and puts opposing social ideologies about this experience in a subtle dialogue. Narratological critical analysis provides an essential tool for readers to turn those ideologies inside out. It enables them to escape the main character’s conformist positioning and develop a liberating empathy, and hence a more sensitive perspective about the social reality that the narrator offers for our consideration.     

《人面狮身的女人》的叙事文体特征分析

《人面狮身的女人》是19世纪末英国唯美主义代表人物奥斯卡.王尔德所著的一篇短篇小说,描写了阿洛依夫人与穆奇森邂逅的一段奇遇,利用大量对话构成独特的篇章布局,运用直接引语营造虚幻又真实的情境,以错落的叙事视角和层次讲述故事,唯美的辞藻、灵活的句式和修辞则巧妙地突出了小说细节和人物情感的变化,打造了一个短小精悍,构思精彩,意蕴无穷的故事。     

《叔叔的故事》的叙事解读

中篇小说《叔叔的故事》具有独特的叙述模式。在故事层面上被完全解构成了一个不确定叙述,在叙述层面上也是由于叙述者的独特位置,视角的选择、以及它的元小说因素,在小说叙事层面上也造成了一定的颠覆与解构。但这样一个颠覆性文本却在小说叙述形式以及对历史对永恒人幽的探寻上都开创了更为广阔的空间,使得这篇小说具有了耐人咀嚼的韵味。     

复调叙事和叙事解构：《酒国》里的虚实

《酒国》在莫言的长篇小说序列里是一个独特的存在,小说采用三线并进的复调叙事策略,使用多种文体参与故事的结撰,并进行了独特的小说中套小说、人物参与叙事、作家进入故事成为人物的文本叙事试验,营造了虚实相生的叙事效果,这种叙事策略具有典型的＂元小说＂、文体杂糅和狂欢化叙事的文本特征,其叙事实验的独特价值及其巨大的文化隐喻所具有的文化、精神批判价值,具有文学史意义。     

时空纠结下的西比尔神话——对也斯《玉杯》的文本细读

也斯是香港著名的小说家,他的《玉杯》是对周穆王故事进行的现代改编,他在文本中采用了空间化的叙事策略,文本空间是在对神话的改编中建构的,叙事空间体现了戏剧性。作品具有时间感,是主体的一种本能体验。穆王这个形象具有否定性,是为了完成都市话语指涉而设计的,表达了现代人对现实的关注和体认。作品具有鲜活的生命力。     

The influence of narrative text characteristics on thematic inference during reading

Past studies of narrative text characteristics mainly focused on comprehension and memory of the contents stated explicitly, but not thematic inference. Two experiments were conducted to examine the effects of the characteristics of narrative text on generation of thematic inference. In Experiment 1, a self‐paced reading method demonstrated that an appropriate title facilitated comprehension of the theme of a text. In Experiment 2, the same titles for the texts were used, together with variation in the goal of the protagonist and outcome of the story. Results indicated that generation of thematic inference depended on the interaction between the goal of the protagonist and the final outcome of a text. These findings are consistent with the global coherence assumption of contemporary text‐processing models in which the overarching theme is constructed during reading by integrating the title, the statements about the goal of the protagonist and the final outcome of a text.     

To tell a story,to write it: developmental patterns of narrative skills from preschool to first grade

In this 1-year longitudinal study, the authors explored the development of narrative skills between the oral and written form. The authors aimed to assess the predictive power of textual narrative competence on early narrative text writing skills taking into account the impact of spelling ability. Eighty children (M age?=?5.3 years, age range?=?4.9–5.7 years; SD?=?0.29) were followed longitudinally until entering the first grade of primary school. During kindergarten, they were tested with an oral story production task and in first grade with a written story production task. Narratives were evaluated in terms of structure, cohesion and consistency. In the first grade, children were also submitted to a dictation task to evaluate their spelling competence. Repeated measures ANOVAs were performed in order to examine narrative competence development, also considering gender differences, and regression analyses were implemented to evaluate the predictive capability of textual abilities expressed by oral narratives on textual abilities expressed by writing. The results showed some significant differences when scores in kindergarten were compared to scores in primary school. Moreover, the ability to tell well-structured, cohesive and consistent stories predicts the ability to write stories with the same qualities in the sample of participants without spelling difficulty. Instead, the predictive link is not apparent considering those children with difficulties in orthographic ability. This research allows us to reflect about how the medium of writing might interfere, on the basis of the level of mastery, with the opportunity to express narrative skills in the transition from the oral to written code. The central role of writing instrument functionality opens the way to practical implications.     

论《押沙龙!押沙龙!》的叙事艺术

《押沙龙!押沙龙!》独具特点的叙事艺术表现为不但在叙事时间上使故事时间和文本时间倒错,而且采用零聚焦、内聚焦与外聚焦交汇的多角度、多层次叙事方法。同时,小说叙述中存在的对话更赋予这部小说以意义的无穷性。     

Appreciating the political ethnography of master narratives and counterstories

Here I write an appreciation of Settlage’s account of experiences with preservice teachers in the United States. Focusing on his use of notions of narrative and counterstories I explore the politics of experience in education looking at how he uses narrative and story, the politics entailed in the polyvocal evidence he presents and the significance of the ethnographic context for his account. After a discussion of these three significant conceptual insights I conclude with a return to his account and his somewhat diffident reflections about the project he reports on.     

自我言说的超越——《呼兰河传》的叙述视角解读

《呼兰河传》的魅力来自萧红对叙述视角的自觉选取,多方叙述视角的选择与变换,使得文本超越了自我故事的讲述层面,上升为对人类生存本真状态的文化关注。本文拟通过解读《呼兰河传》叙述视角的途径,探寻文本的内在意蕴。     

井上靖《敦煌》中人物的叙事学阐释

从叙事学角度分析了井上靖的代表作《敦煌》中的人物,认为《敦煌》在故事情节发展上呈现二元式叙事结构。在话语故事时,文本着力表现人物各自所承担的角色功能以及相互关系,同时,文本中的类型化的人物还承担了一定的道德寓意。     

一千零一个山鲁佐德——《一千零一夜》的隐含作者与连环穿插式结构的关系

连环穿插式叙事结构是《一千零一夜》最具特色的叙事结构,在这个“故事套故事”的框架aY．．T,每个故事都有自己的隐合作者。本文拟用叙事学理论,以《一千零一夜》中《脚夫与姑娘的故事》为例,通过分析故事中的隐含作者及其相关叙述文本,进一步探究隐含作者与连环穿插式叙事结构之间的关系。最终得出隐合作者对该故事集的叙事结构在无限性延伸方面起到关键性作用的结论。     

30年代革命风潮中女性反成长叙事的发现与反思——以三个小说文本为例

上个世纪30年代革命故事里的女性反成长叙事,沿着欲望通过抑制／激活机制进行话语转移的理路完成了革命女性和边缘女性想象,彰显了欲望与理性的永恒悖论和两者间的对抗式对话,也出示了革命风潮中女性如何欲望、如何成长的部分真相和答案。《她是一个弱女子》、《一九三0年春上海》（二）和《出奔》三个小说文本,颇典型地代表了这个时段女性成长失败的诸种陷阱和深层原因。     

论《如果在冬夜,一个旅人》的后现代叙事特征

伊塔洛.卡尔维诺的长篇小说《如果在冬夜,一个旅人》充分体现了后现代小说碎片化、互为文本、迷宫体验等叙事特征。小说故事由框架故事和嵌入故事两部分组成,在结构形态上既有对传统小说叙事模式的继承,也有改变小说艺术模式的努力与尝试;小说通过故事情节的不确定性传达了现代人在现代社会中的迷宫感受。