心灵阅读视域中的嵌入叙事——以《洛丽塔》为例
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摘要
认知科学中的心灵阅读与叙事学中的嵌入叙事的结合为研究《洛丽塔》中两位主人公——亨伯特和洛丽塔提供了新的视角。在心灵阅读的映照下,拆解嵌入式意向性,通过微观嵌入叙事构建的亨伯特的精神困境将更加直观地展现,体现了作者的精妙操控。宏观嵌入叙事包含了亨伯特、夏洛特和圭尔蒂对洛丽塔的心灵阅读,展现了洛丽塔从顺从到反叛的心理历程、乱伦的家庭诱因以及绝望困苦的心理状态。心灵阅读与嵌入叙事的结合使得两人鲜为人知的心理状态通过不同人物的视角展现,构建出更加丰满的人物形象,唤起读者不同的阅读情绪。
The combination of Mindreading with Embedded Narrative throws a new light on the study of the two protagonists Humbert and Lolita in Lolita. By separating embedded intentionalities, Humbert's spiritual predicament constructed within the realm of microcosmic embedded narrative is directly revealed, which shows the author's sophistication in manipulating the text. The macrocosmic narrative includes Humbert's, Charlotte's and Quilty's mindreading of Lolita, through which Lolita's rebellion, the inducement to incest and desperation will be fully presented. Mindreading and Embedded Narrative enables readers to know the unknown mental states and a full-dimension image of the two protagonists which are constructed by different characters.
The combination of Mindreading with Embedded Narrative throws a new light on the study of the two protagonists Humbert and Lolita in Lolita. By separating embedded intentionalities, Humbert's spiritual predicament constructed within the realm of microcosmic embedded narrative is directly revealed, which shows the author's sophistication in manipulating the text. The macrocosmic narrative includes Humbert's, Charlotte's and Quilty's mindreading of Lolita, through which Lolita's rebellion, the inducement to incest and desperation will be fully presented. Mindreading and Embedded Narrative enables readers to know the unknown mental states and a full-dimension image of the two protagonists which are constructed by different characters.
引文
[1]Zunshine Lisa.Why We Read Fictions:Theory of Mind and the Novel [M].Columbus:Ohio State University Press,2006.
[2]Barth John.Tales within Tales[M]//The Friday Book:Essays and other Nonfiction. New York:G.P.Putnam’s Sons,1984:218.
[3]Nelles Williams. Frameworks:Narrative Levels and Embedded Narrative[J].Studies in the Literary Imagination,1992,(1):79.
[4]Palmer Alan. Fictional Minds[M].Lincoln:University of Nebraska Press,2004.
[5]于晓丹.《洛丽塔》:你说什么就是什么[J].外国文学,1995,(1):75-76.
[6][美]纳博科夫.洛丽塔[M].主万,译.上海:上海译文出版社,2005.
[7]莎士比亚.莎士比亚十四行诗[M].屠岸,译.北京:外语教学与研究出版社,2016:86.
[8]郭佳.《洛丽塔》的悲剧性解释[J].陕西师范大学学报(社会科学版),2009,(3):315.
[9]徐艳辉.《洛丽塔》中的命名游戏及其意义[J].解放军外国语学院学报,2004,(6):86.
[10]何岳球.洛丽塔:纳博科夫的“变态”蝴蝶[J].外国文学研究,2008,(5):119-122.
[11]林佳,王爱君.对诗性的非诗性解读——论《洛丽塔》悲剧意味的构成[J].武汉大学学报(人文科学版),2013,(4):104.
[2]Barth John.Tales within Tales[M]//The Friday Book:Essays and other Nonfiction. New York:G.P.Putnam’s Sons,1984:218.
[3]Nelles Williams. Frameworks:Narrative Levels and Embedded Narrative[J].Studies in the Literary Imagination,1992,(1):79.
[4]Palmer Alan. Fictional Minds[M].Lincoln:University of Nebraska Press,2004.
[5]于晓丹.《洛丽塔》:你说什么就是什么[J].外国文学,1995,(1):75-76.
[6][美]纳博科夫.洛丽塔[M].主万,译.上海:上海译文出版社,2005.
[7]莎士比亚.莎士比亚十四行诗[M].屠岸,译.北京:外语教学与研究出版社,2016:86.
[8]郭佳.《洛丽塔》的悲剧性解释[J].陕西师范大学学报(社会科学版),2009,(3):315.
[9]徐艳辉.《洛丽塔》中的命名游戏及其意义[J].解放军外国语学院学报,2004,(6):86.
[10]何岳球.洛丽塔:纳博科夫的“变态”蝴蝶[J].外国文学研究,2008,(5):119-122.
[11]林佳,王爱君.对诗性的非诗性解读——论《洛丽塔》悲剧意味的构成[J].武汉大学学报(人文科学版),2013,(4):104.