论文部分内容阅读
前言西方叙事学中,视角是必须研究的领域,从什么角度观察故事一直是备受关注的问题,也因此产生各种争论。就术语而言,大致使用的有视点、视角以及聚焦。这些术语的使用有各自独特理解与划分的角度,也造成了界定与分类的混乱。申丹教授在《叙事学导论:从经典叙事学到后经典叙事学》中已对此进行了较为详尽的研究。本文采用申丹教授的意译“视角”一词,以指叙事中观察故事的立场、方法与角度。本文并非旨在探讨视角的具体划分,而是尝试用中国绘画理论中郭熙的“三远”理论对叙事学视角进行新的探讨与解读,在中西诗学理论碰撞中寻求和谐的双向汇通。
Foreword In Western narratology, perspective is an area that must be studied. Viewing the story from any angle has always been the subject of great concern and various controversies. In terms of terminology, the general use of point of view, perspective and focus. The use of these terms has its own unique understanding and division of perspective, but also led to the confusion between the definition and classification. Professor Shen Dan has carried out a more detailed study in “An Introduction to Narratology: From Classic Narrative to Post-Classic Narratology.” This article uses the free translation of Professor Shen Dan “perspective ” to refer to the narrative point of view of the story, methods and perspectives. This article is not intended to explore the specific division of perspective, but to explore and interpret the perspective of narratology from the perspective of Guo Xi ’s “Three Far-sighted” in Chinese painting theory. In the collision of Chinese and Western poetic theories, Huitong.