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一随意翻开一本文学理论的教科书,或是专门论及小说和叙事技巧的专著,几乎所有的专家学者都十分热衷于给小说作出简洁而准确的定义。其间虽千差万别,众说纷纭,亦各持己见,却无不是小心谨慎地字斟句酌,乃至因一个标点符号的移动而争执得面红耳赤,衍化出大块的文章见著报刊杂志。然而,在这些竞相争夺小说定义之桂冠的角逐者中,却鲜有人对小说的“意义”提出根本性的质疑。在这里,“意义”似乎是不言自明的,也是不容置疑的。人们已习惯于将营造“意义”视为小说创作的最高宗旨,而探寻和破解“意义”则是小说批评的金科玉律。因而,小说总被喻为潘多拉的盒子,“意义”即深藏在里头的魔鬼。小说的作者以其天赋的
A free textbook on literary theory, or a monograph devoted to fiction and narrative skills, almost all experts and scholars are very keen to make a concise and accurate definition of the novel. Although there are many different opinions and different views, they also disagree with each other. However, they all deliberately think carefully about each other. Even disputes over a punctuation mark are getting red-hot. A large piece of an article has spread to newspapers and magazines. However, few of these contestants who contend for the title definition of the novel have raised fundamental questions about the “significance” of the novel. Here, “meaning” seems to be self-evident, it is beyond doubt. People have become accustomed to create “meaning” as the highest purpose of novel creation, and explore and crack “meaning” is the golden rule of fiction criticism. Therefore, the novel is always called Pandora’s box, “meaning” that is hidden inside the devil. The author of the novel is based on his talent