意识流小说关键词审理:意识流

历经并非简单划一的学缘谱系之“光合作用”而产生的文学“意识流”,在学术界理解和认识不一,这主要是它的不稳定特性所致。但以乔伊斯为代表的文学实践是确定其基本涵义的首要前提。它得到严谨且权威的《牛津文学术语词典》(1990年英文版)简明扼要的最新诠释,是契合实际的。     

浅谈意识流技巧在《赫索格》中的运用

《赫索格》是一部典型的犹太小说和心理小说。作为索尔.贝娄创作生涯中集大成的作品,该小说通过赫索格的流浪经历展现了五十年代美国社会的现实状况,更突出的是通过展现赫索格内心的情感流动反映了美国犹太知识分子的苦闷内心和精神危机。贝娄巧妙的采用内心独白、自由联想和时间蒙太奇等意识流表现形式来呈现主人公内心的压抑、苦闷和彷徨,也为读者提供了一种新鲜的阅读方式和阅读感受。     

意识流小说的文体特点及其"形式"的传译

意识流小说充满了各种形式变异。本文以爱尔兰著名作家詹姆斯乔伊斯的著作《尤利西斯》(U-lysses)的中译本为范本,从剖析意识流小说的形式变异入手,指出译者在翻译过程中要充分考虑意识流的语体特点,保留其形式,实施一种以变异应对变异的翻译策略和方法。     

《尤利西斯》中意识流手法及体现的西方现代意识

意识流是现代心理学研究的一个重要衍生物,因以人物内心生动展示为广大作家普遍采用。本文解读了《尤利西斯》中的西方意识流中瞬息万变的意识活动和离奇复杂的感性生活以及通过意识流手法体现出的西方社会的现代意识和精神结构。     

鲁迅小说中的意识流

意识流手法是鲁迅小说中又一种技巧,鲁迅运用的这种技巧来源于俄国现实主义,而非传统意义上的西欧的意识流.鲁迅小说中的意识流很有自己的特色,它跟中国传统现实主义写作手法很好地结合在一起,形成了独具持色的"鲁迅式的意识流".     

现象学视域中幼儿创新意识的内涵、表现及其培养

目前,幼儿创新意识的培养受到了人们的广泛关注,但创新意识的内涵以及创新意识在幼儿阶段的表现与发展仍是亟待厘清的基础问题.本研究首先从现象学的"意识"概念出发明确界定了创新意识的内涵,其次在文献研究与经验观察的基础上阐明了创新意识在幼儿阶段的表现与发展情况,并据此在文章最后论述了幼儿创新意识培养的三项原则,确立了幼儿创新意识培养的理念.     

意识流小说诗学之诠释

历经综合因素而问世的意识流小说诗学，以本体的审美创造、内在的意象真实和非个人化的叙述为核心元素；通过学历史之比照，从学观念到叙述方式，表现出迥然相异于传统的学观之审美旨趣，在现代小说艺术发展中占有一席之地。     

Children's Understanding of Logical Inconsistency

Five experiments involving 245 participants examined children's understanding of logical consistency. For instance, a character said that a man was both tall and very short. Only by 6 years of age did children show any understanding of logical inconsistency. This occurred despite: (1) good memory for the characters' claims; (2) the use of three different question forms including whether a person had made sense, said something silly, or whether both things a person said could be right; (3) the ability to identify other types of statements (e.g., factual inconsistencies) as not making sense; (4) the ability to compare and contrast the characters' claims in other ways; and (5) attempts to deepen children's processing of the claims by asking them to draw what each character said. Similar to false belief understanding, there was a monotonic relation between the number of older siblings a child had and logical consistency understanding on one of the tasks. It is argued that children may fail the different consistency tasks because of both logical factors (e.g., insufficient insight into logical necessity) and nonlogical factors tied to their social knowledge or insight into representation.     

Young Children's Understanding of the Mind-Body Distinction

4 experiments investigated children's understanding of the mind-body distinction. Children of ages 4 and 5 recognized not only the differential modifiability of changeable versus unchangeable human properties and bodily versus mental properties, but also the independence of activities of bodily organs from a person's intention (Experiment 1). When presented 3 types of causal explanations (i.e., intentional, vitalistic, mechanical), 6-year-olds chose most often as most plausible for bodily functions vitalistic explanations (i.e., those ascribing the phenomena to a relevant bodily organ's initiative and effortful engagement in activity); 8-year-olds chose the vitalistic explanations second most often, following mechanical ones (Experiment 2). However, 6-year-olds, as well as 8-year-olds and adults, did not always choose vitalistic explanations over intentional explanations (Experiment 3); whereas they tended to prefer vitalistic explanations for biological phenomena, they predominantly accepted intentional ones for psychological phenomena (Experiment 3A). These results suggest that children as young as 6 years of age have acquired a form of biology as an autonomous domain which is separate from that of psychology.     

王蒙意识流小说的修辞建构

文章以伍尔夫为参照,分析王蒙意识流小说的修辞建构.意识流手法在中国化进程中,融入了民族的文化积淀与审美情趣,形成了独具特色的"东方意识流".     

论西方意识流小说特性

意识流的作家认为文学应反映出真实的生活,即内心的主观对于客观的现象认知。通过对《尤利西斯》作品研究可知,意识流小说具有四个特性,即意识流小说折射的哲学性、心理性、社会现实性和文学前景化性。     

理解儿童的理解——从哲学解释学的角度分析

后现代哲学解释学认为理解是人存在的方式.人自从呱呱落"地"以后,就不断理解着世界,体现生命和生存的意义,那些看上去很"浅薄的"哲学和科学思想,以及"简单"的艺术手法,无不体现儿童对世界的理解.但在现实社会中,成人往往无法正确理解儿童,容易把成人的意识强加给儿童.我们要通过"澄明""阐亮"和"平等对话"来改变这种现状,还儿童一片新的世界.     

老舍意识流小说的本土化元素

老舍创作的几篇意识流小说很有特色。其中的《丁》与《微神》是相当独特的两篇,它们体现了作为现实主义大师的老舍在写作意识流小说时的本土化努力。     

论伍尔夫意识流小说的"非人格化"

分析了英国伟大的现代派女作家弗吉尼亚·伍尔夫的现代小说“非人格化”理论及其在创作实践中的实验 ,论证了伍尔夫以全新的角度探索人的内心世界 ,探索小说形式的革新 ,对意识流理论作出的新贡献     

《喧哗与骚动》中的意识流

美国著名作家威廉·福克纳的作品<喧哗与骚动>,在小说的写法上进行了大胆的试验和创新,取得了很大的成就.他运用"意识流"手法,在发掘人物的内心活动及刻画小说中的每个人物,达到一个新的高度.同时也流露出福＃克纳作为南方作家内心深刻的宿命意识.     

Children's Sensitivity to Lack of Understanding

Successful tutoring depends in part on child tutors’ ability to recognise and interpret accurately signals of misunderstanding by their tutees. Age- and gender-related differences were investigated in a study which exposed 80 children to a video-recorded episode involving a target child receiving ambiguous instructions in her attempts to move a model car along a designated route on a playmat roadway from one destination to another. The results showed that explicit, general and facial modes of displaying puzzlement by the target child were judged as equally powerful expressions of degree of puzzlement, but 8-10 year olds judged the target child as significantly more puzzled than did 7 year olds. Older children were also more likely to attribute the puzzlement of the target child to the ambiguous instructions than to her verbal or facial expression of puzzlement. Girls were generally more accurate than boys in judging facial expressions and less likely than boys to give wrong or alternatively ambiguous responses when given the opportunity to correct the video-recorded ambiguous instructions. The results throw some light on the developing sensitivities of boys and girls in recognising and attributing failures of understanding by other children.     

Children's Understanding of Guild and Shame

Children's conceptions of the self-conscious emotions guilt versus shame were investigated. In Study 1, 10–12-year-old children answered questions about scenarios that should elicit feelings of guilt and/or shame (moral transgressions and social blunders). In Study 2, 7–9- and 10–12-year-old children completed a sorting task to ascertain the features they associate with guilt and shame. Feelings of guilt were aroused by moral norm violations. Guilt feelings were also seen as involving an approach-avoidance conflict with respect to the victim, self-criticism, remorse, desire to make amends, and fear of punishment. Feelings of shame resulted from both moral transgressions and social blunders. Younger children associated shame with embarrassment, blushing, ridicule, and escape. Older children additionally characterized shame as feeling stupid, being incapable of doing things right, and not being able to look at others.     

《喧哗与骚动》中的意识流手法

作为一位公认的美国文学大师,威廉·福克纳在其著名的代表作<喧哗与骚动>中,将意识流手法发挥得淋漓尽致.他频繁地表现意识流是为了直接向读者提供生活的片断,使作品能更加接近真实,同时也是服从刻画特殊人物的需要,从中可以领会到福克纳运用娴熟意识流写作手法而体现出的独特的个人风格.这一崭新的文学形式不仅使他走到了时代文学的前列,而且也给他的精神追求以合适的表现空间.