| 法国中尉的女人自一九六九年问世以来，在宽大读者和评论界中惹起了激烈的反应，文学评论家们对该小说的思惟内容和后古代主义写作技能都分离作了深刻地商量。本文经由过程对这部著作的内容和情势的体系研究，以为该小说的后古代主义特点不是表现在对传统的完全推翻，而是在实际主义和试验主义的完善融会中获得表现。在主题方面，小说不只表现了英国批评实际主义文学的传统主题一对维多利亚时期的严格批驳，还表现了存在主义“自在”和“选择”的主题，即在十九世纪英国如许一个毫无自在的社会里，一个位置卑下的男子是如何经由过程本身的尽力取得自在，并为本身的这一选择支付价值。同时小说在场景设置、情节成长和人物塑造方面无不表现传统与立异的融合。小说对十九世纪社会情况描写详实真切；情节惹人入胜，年夜部门故事头绪清楚清楚明了；人物抽象塑造光鲜活泼。但与此同时，福尔斯又站在本身时期的高度对十九世纪的社会加以评论；情节的成长不落传统小说的俗套，以致同时涌现喜剧的、悲剧的几种终局；人物可以不受作者的掌握，其命运可以有多种选择。传统与立异的融会在小说的情势上也获得很好的表现。起首在说话上，法国中尉的女人分歧于其它后古代主义小说，把对说话情势的试验停止到了极致，而是运用了维多利亚时期小说优雅、逻辑连贯的说话。小说也用到了戏拟等试验手段，玩“说话游戏”。在小说的构造上福尔斯年夜部门采取了维多利亚时期小说的构造支配，但是作者在采取这类办法的同时，又赓续地对它开顽笑，乃至嘲弄，因此小说出现出了不连接、不肯定的后古代主义构造特点。在叙事角度和视点上，福尔斯一面采取传统的第三人称和全知万能的叙事视点，一面又背叛这类传统，法语论文，小说后半部门中第一人称和第三人称瓜代运用，作者也自在地收支小说当中。在小说虚拟性成绩上，福尔斯以为小说从头至尾是从虚拟中出生，但是福尔斯用小说这一虚拟情势真切地再现了维多利亚社会；同时，小说处处提示读者其虚拟性，并将显著的现实与露骨的虚拟成心地混杂在一路，给读者形成一种触电的震撼。八 硕士学位论文＼站己环yM人STPR’SJllZSIS六十年月英国小说处于一种危机状况，以致评论家提出“小说将逝世”，而福尔斯保持以为“小说不会逝世”。他继续并超出了实际主义小说的巨大传统，将故事性和试验性融会在一路，以现实行为尽力抢救小说这一艺术情势。现实证实，这一作法在贸易和艺术价值两方面都获得了胜利，并为战后英国小说的成长供给了一条新的前途。 Abstract: The French Lieutenant's woman, since its inception in 1969, in the broad readers and critics caused fierce reaction, literary critics of the novel the ideological content and post modernism writing skills are separated are deeply discussed. This paper through the process of the work content and situation system research, thought the novel after the ancient characteristics of the doctrine is not expressed in the traditional completely overturned, but in the perfect blend of realism and experiment to obtain performance. In the aspect of the theme, the novel is not only the performance of the UK's criticism of the traditional theme of realism literature a of the Victorian harsh criticism but also the performance of the Existentialism "freedom" and "choice" theme, namely in the nineteenth century British such a no free society, a position of the humble man is how to through the process itself to try to get comfortable, and payment value itself of this choice. At the same time in the novel setting, plot and growth characters are the expressions of traditional and innovative fusion. Novels of the nineteenth century social description detailed real; plot to provoke people into wins, Nianye sector story clue clear; abstract figures shaping the bright and lively. But at the same time, falls and station in the period of height of the nineteenth century social comment; plot growth does not fall the stereotypes of the traditional novel, that at the same time the emergence of comedy and tragedy of several final; characters can not subject to the master, the fate can have a variety of options. Blend traditional and innovative is well reflected in the novel situation. Chapeau speaking, the French Lieutenant's Woman "differences in other ancient novels, the talk to talk situation test stop to the extreme, but the application of the Victorian novel elegant and coherent. The novel also uses the play to be other test means, plays the speech game". In the structure of the novel falls Nianye departments take the Victorian novel structure dominated, but the authors in this way at the same time and continuously to the joke, and even ridicule, so the novel appeared not connected, not sure of the modern tectonic characteristics. On the narrative point of view and viewpoint, Fowles side to take the traditional third person and the universal omniscient narrative point of view, side and betray the traditional, novels in later parts of the first person and third person Guadai application, the author also comfortable balance novels. In the novel virtual results, Fowles thought from the beginning to the end of the novel is born from the virtual, but falls with the novel as a virtual situation truly reproduces the Victorian society; at the same time, novel everywhere remind the reader of its virtual, and significant realistic and explicit virtual intentionally hybrid in a way, an electric shock to the reader. Eight master degree thesis, standing cyclohexyl YM stpr 'SJllZSIS sixties British novels in a crisis situation, so that the critics put forward "novel died", and falls maintain that "novels not death". He went on and beyond the great tradition of realist novels, stories and test of fusion in a road, with realistic behavior trying to rescue the novel the artistic forms. The reality has proved that this approach has won the victory in the two aspects of trade and artistic value, and provides a new future for the development of the postwar English novel. 目录: |
