【作者】 谢艳明；

【导师】 王宝童；

【作者基本信息】 河南大学 ， 英语语言文学， 2007， 博士

【摘要】 自从叙述学正式被引进学术界的四十多年里，它主要被用来研究小说。本文则试图将叙述学的理论和方法应用到诗歌的阐释之中。作者主要以查尔德编纂的《英格兰与苏格兰民谣》和《诗经》为例分析诗歌的叙述模式和程式。为了对诗歌叙述规律作一个深刻而又全面的洞察，本文还引用了英语文学和中国文学中的其他诗歌作为例证。本文由五个章节组成。第一章总体地比较了《英格兰与苏格兰民谣》和《诗经》，给出了“民谣”的定义，并指出民谣的基本特征是非个性化、非主观性和不带自我意识。本章介绍了这两部诗集是如何编纂而成，以及它们的文学地位是如何被学者认可的，本章还综述了针对《诗经》、《民谣》及其编者的研究历史。第二章主要关注叙述学及其发展历史，分析了将其理论和方法应用到诗歌研究中的可行性。第三章论述诗歌的叙述模式。本章开头介绍了分别由亚里士多德和《尚书·尧典》给出的关于诗歌的经典定义，这两种定义规定了中英诗歌的不同叙述模式，导致了英国民谣强调故事的完整性，中国诗歌重视话语表达诗人的思想、理想和抱负。由于它们之间的不同特征，它们在选择视角模式时也不尽相同：英国民谣主要选择第三人称视角来保持非个性化和客观性，而中国诗歌主要选择第一人称来表达诗人的个人追求。然而，英国民谣的客观性叙述和中国诗歌的第三人称叙述都时常被第一人称的叙述者在文本的开端、中部或结尾部分闯入。本章用比较的方式探讨了典型的诗歌表达模式，将中国诗歌中的三种主要模式——赋、比、兴——与引语和两个西方修辞手段——隐喻和转喻——进行比较，发现它们之间的关系是叠合的。比如，“兴”可能含有隐喻或转喻，或二者都有。本章还讨论了诗歌的韵律模式——主要是节奏和押韵，还探讨了英国民谣和中国诗歌的音乐特征。第四章分析诗歌的叙述程式，由三个部分组成：情节设计、人物塑造和诗歌构造。中国诗歌不十分强调情节的设计，而英国民谣却把它当作是叙述的根本元素。本章使用了普罗普的形态学方法阐释一些英国民谣和中国诗歌是如何安排情节的。在人物塑造方面，尽管诗歌的人物多数是静态的，非动态的，但英国民谣和《诗经》塑造了许多丰富多彩的人物形象，如：勇敢的水手帕特里克·斯本斯、伟大的王后简、绿林好汉罗宾汉、弃妇，等等。这些人物推动了情节的发展，这样，叙述文本就形成了。文本必须在一定的语境中进行阐释，一些诗歌十分依赖语境，而另一些诗歌语境的依赖程度相对较低。本章的最后一部分还讨论了诗歌文本是如何开端，如何结尾的，并就英国民谣和中国诗歌总结了五大开头模式和两大结尾模式。诗歌的构造离不开衔接纽带的使用。除了韩礼德、哈桑的五大衔接纽带和胡壮麟的语音纽带外，本章还提出了另四条衔接方式：对立衔接、过度衔接、欠额衔接和反衔接。第五章是对全文的总结，并得出结论：叙述学的理论和方法在诗歌阐释中不仅是可行的，也是十分实用的。更多还原

【Abstract】 For more than 40 years since narratology was formally brought into the academicworld, it has been mainly utilized in the study of stories and novels. This dissertationattempts to apply the theory and methods of narratology in the interpretation of poetry.It takes Child’s English and Scottish Popular Ballads and the Book of Poetry asexemplars to analyze the narrative patterns and processes of poetry. Some other poemsin both English and Chinese literature are also quoted so as to seek profound andcomprehensive insights into the narrative rules of poetry.This dissertation is composed of five chapters. The first chapter is a generalcomparison between English and Scottish Popular Ballads and the Book of Poetry. Itgives the author’s definition of the ballad and points out that the characteristics of theballad are impersonality, and the absence of subjectivity and self-consciousness. Then,it describes how these two collections of poetry were compiled and their literary statusas recognized by scholars. This chapter also describes their critical history and that oftheir compilers. The second chapter focuses on narratology and its development, andanalyzes the feasibility of applying its theory and methods in the study of poetry.The third chapter centers on the narrative patterns of poetry. It beans with theclassical definitions given by Aristotle, representing the western view of poetry, andYao’s Classics in Shang Shu (Supreme Book), representing the Chinese view. Thesedefinitions have prescribed the narrative patterns or modes of English poetry andChinese poetry, leading to the phenomenon that English ballads stress the integrity ofstory, while Chinese poems emphasize discourse on the poet’s thoughts, ideals andambitions. Due to different characteristics of English ballads and Chinese poems, theydiffer in their choice of the modes of perspectives; the former choose mainly thethird-person to stay impersonal and objective, while the latter choose mainly the first-person to express the poet’s personal pursuit. However, the objective narration ofthe English ballads and the third-person narration of the Chinese poems are sometimesdisrupted by the first-person narrator who may abruptly assmne the narration at thebeginning, in the middle or at the end of the text This chapter explores comparativelythe typical modes of poetic expressions. The three major modes of Chinese poetry, fu, biand xing are compared accordingly with speech and with western rhetorical devices,metaphor and metonymy. It is found that their resemblances actually overlap. A xingexpression, for instance, may include either metaphor or metonymy, or both. Thischapter also discusses the metrical modes of poetry—mainly rhythm and rhyme. Thenit investigates the musical features of both the English ballads and the Chinese poems.The fourth chapter probes into the narrative processes of poetry. It falls into threesections: plotting, characterization and the making of poetry. The Chinese poems do notattach much importance to the design of plots, but the English ballads take it as anessential element of narration. The chapter employs the method of Propp’s morphologyto interpret how the plots of some English ballads and Chinese poems are arranged. Incharacterization, although most of the characters in poetry are more static than dynamic,English ballads and Chinese poems have both created many colorful characters such asthe brave sailor Sir Patrick Spens, the great Queen Jane, the outlaw Robin Hood, andmany miscellaneous abandoned women, etc. With these characters to drive thedevelopment of action, a narrative text is thus formulated. A text must be interpreted inan appropriate context, and although some poems are heavily dependent on context,others are relatively independent of it. The last section of this chapter also discusseshow the poetic texts begin and how they end. It summarizes five major types ofbeginnings for both English ballads and Chinese poems, and two major modes ofendings. The making of poetic texts is inseparable from the use of cohesive ties. Apartfrom the five major ties of Halliday and Hasan, and a phonetic tie of Hu Zhuanglin, this chapter has put forward another four ties: antithetic cohesion, over-cohesion,under-cohesion and anti-cohesion.The last chapter summarizes the whole dissertation, and concludes that the theoryand methods of narratology are not only feasible but also useful in the interpretation ofpoetry.更多还原