【作者】 李晓斐；

【导师】 戴岚；

【作者基本信息】 华东师范大学 ， 比较文学与世界文学， 2010， 硕士

【摘要】 阿加莎·克里斯蒂是侦探小说创作的代表人物之一,她的小说充满了叙事的魅力。自爱伦·坡以来,侦探小说这一特殊的文学样式创作出了一个虚幻的世界,它的创作受到一定规则的制约,背景、情节与人物都依据一套模式,即：“犯罪——侦查——推理——破案,人物设置为“侦探——案犯——第三人”,这一模式一直延续至自柯南道尔开始的古典侦探小说创作时期。克里斯蒂在部分小说中也沿用了这一模式,但在更多的作品中,她对这一模式进行修改,创作出更适合小说人物和情节的框架,马普尔小姐的特殊性使该系列拥有两个悬疑,侦探可信度和案件的破获成为两条并行的线索。在话语层次上,克里斯蒂的多部小说都采用了三个叙述层次的立体结构,超叙述层——主叙述层——次叙述层的结构,各个叙述层次相互入侵,不同的作品中三个层次的出现顺序也不雷同,从而制造出不同的叙事效果。其次,克里斯蒂的侦探小说中的叙述方位也有多种变化,不同的叙述者身份与叙述角度的结合使每一部小说的悬念有其自身的叙述特色,叙述学家们为侦探小说搭建的五大叙述元素的亲疏图并不适用,叙述的可靠性也难以确定。第一人称主要人物角心的小说人物亲疏关系难以琢磨,第一人称次要人物角心的小说叙述可靠性不足,第三人称单式次要人物角心的小说的叙述可靠性和五大叙述元素的亲疏图难以恒定。然后,五大叙述文本元素中的隐指作者涉及到社会规范和作者的個人價值觀,克里斯蒂的小说中首先体现出英国帝国文化中对异域元素的观念,帝国文化的连续性在作品中被反复表现,东方世界慢条斯理的生活方式和行为准则为西方游客所鄙夷。殖民地与从属地是大英文化的“他者”,隐指作者表现出西方文明的优越性,叙述者的亲身经历则表明他们对古老文明的钟爱以及对当地生活的真实想法,展现出东方文明恒久的美与深邃的思维方式。小说的女性观糅合了维多利亚时期的传统妇女观和二十世纪女性主义的观念。隐指作者并不支持妇女加入就业大军,婚姻与教育是女性的归宿。女性叙述者则表现出新时代女性的特色,她们多为事业成功、独立自主的单身女性,女凶手们精心策划的凶案和女叙述者理性化的叙述和分析在多部小说中得以体现,但总而言之,这些成功女性最后都步入婚姻的殿堂,成为温柔贤良的妻子。最后,在小说的时间安排上,克里斯蒂的多部小说都出现了错时现象,在这些小说中她巧妙的运用了追诉的手法,表现出错时中的距离和方向问题。从叙述时间上看,她的情节可分为“展开”式情节和“转折”性情节,转折性情节追随过去与宣告未来的功能,减轻了展开性情节铺陈过于繁冗的危险。论文的研究重点是克里斯蒂侦探小说的叙述。更多还原

【Abstract】 As one of the most renowned detective story writers, Agatha Christie imbued her works with unique narrative charisma. Originated from Poe, detective stories made up societies and events out of imagination. More often than not, the occurrence and development of these events adopted a similar procedure:"crime----investigating----deducting----resolution" with "detective----criminal----the third person" as three pilot figures. This setting was manifested in hundreds of detective stories written in the Classical Time of Detective Stories, the beginning of which was marked by the advent of Sherlock Holmes. To some degree, Agatha Christie used this model for some of her works, especially in Poroit stories. However, she was inclined to adjusting the traditional model to plots and characters of particular stories. For example, the Marple series can provide two major lines of suspense, one dealing with the murder and the other establishing the credibility of the detective. As for the discourse, Agatha Christie did not confine her stories to two simple layers and, on the contrary, she was adept at creating three interactive discourse layers:hyper discousr layer----main discourse layer----sub discourse layer. The unstable order of three layers facilitated diverse narrative features of different stories.The diverse combination of narrators and narrating perspectives leads to an ever-changing narrating position which results in the unique characteristics of particular stories. The relationship table for traditional detective stories set up by scholars are not applicable to her works and the reliability of the narrators are nothing but questionable. Stories narrated in first person are complicated in terms of their five narrative elements’ relationship. The reliability of the narrators are tricky in stories told by second person while it is difficult to predict with certainty the five elements and narrative reliability in stories narrated in third person.The hidden writer and the narrator are combatting each other with regard to the superiority and continuity of the imperial culture and women’s function in the society, the former upholding and elaborates on the social norms and the latter contending from their personal experiences and perspectives. The hidden writer displays a universal opinion that colonies are the "Other" of Britain and a traditional Victorian feminine perspective that women should be dedicated to marriage, household trifles and children’s education. Obviously, hidden writers are against the idea that women fight for their careers and economic independence. However, intricate murders planned by women, reasonable deduction made by female detectives and narrators all stand up to hidden writers discrimination which were universal norms in contemporary societies. Unfortunately, most of the independent and intelligent women gave up their careers and married their Mr. Right and turned out to be good wives in the end.In respect of the narrating time, anachronies is a skill frequently adopted by Agatha Christie. Retrovision is highlighted in her use of anachronies, functioning in facilitating confusing but reasonable issues derived from distance and direction.of anachronies. Her plots can be classified into two categories:Crisis and Development. The former helps relieve the information burden of the latter by undertaking the functions of tacking the past and predicting the future as well.The focus of the thesis lies in the analysis of the narration skills in Agatha Christie’s detective stories.更多还原