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    題名: 莫泊桑小說文本中的「真實」再造(II-I)
    其他題名: The Reproduction of Real in the Short Text of Maupassant
    作者: 鄭安群
    貢獻者: 淡江大學法國語文學系
    關鍵詞: 莫泊桑;短篇小說;敘述學;Maupassant;novel;narratology
    日期: 2009
    上傳時間: 2010-04-15 15:23:52 (UTC+8)
    摘要: 本計畫的目的是針對莫泊桑的小說作品進行研究,題目是《莫泊桑小說文本中的「真實」再造》。 在1880到1891年的十年間,莫泊桑寫下了極多的作品,有詩歌、小說、短篇小說,和報紙評論。這些大量的作品提供了足夠的素材及問題做為二到三年的研究計畫:第一年研究他的寫實短篇小說,第二年研究非寫實短篇小說,如果計畫擴充到第三年,則可研究他的長篇小說。 莫泊桑是大家所公認的短篇小說泰斗,其數量近三百篇。在這些短篇小說中,可以依習慣將其區分為敘述真實事件和非真實事件的短篇小說。例如「脂肪球」歸類於前者,「霍勒」(Le Horla)歸類於後者。這傳統將莫泊桑作品依內容所做的分類,使其歸類為真實和非真實,方便了本計畫的分年進行。但本研究所採用的研究方法和精神主要是以羅蘭巴特所主張的結構研究為原則(formaliste 或 structuraliste)來解釋莫泊桑在文本敘事過程中如何用文字來製造〈真實〉的幻覺。 多年來許多專家的努力,例如羅蘭巴特、熱奈特(Genette)、托多洛夫(Todorov)等,今天敘述學已被學界廣泛接納,做為文本分析的有效方法。敘述學避開了昔日聖德.博夫(Sainte-Beuve)所犯的錯誤,將作者和小說主角混淆,而此錯誤後來已受到普魯斯特的嚴厲批評。敘述學方法的正確性就是將小說分析的重點放在文本架構上,而此態度今日已廣泛地運用在法國目前的文史哲研究上。 本計畫延伸本人過去對十九世紀法國小說,特別是福樓拜和梅里美作品的研究。莫泊桑是福樓貝的學生,他不僅接受了老師的寫作風格,也承襲他諷刺的個性。但莫泊桑也有自己的風格,就是擅於寫短篇,是法國繼梅里美之後最好的短篇小說家。柏格斯(Borges)認為,短篇小說是小說的最佳形式,這就是為何本計畫決定研究莫泊桑。 We propose to study the works of Maupassant, by entitling our project: "The reproduction of real in the short text of Maupassant". Between 1880 and 1891, in 10 years space, Maupassant wrote much (poems, novels, short stories and chronicles). We think that this abundant works can provide enough problems for a research project of 2 or 3 years: the 1st year to study his realistic short stories, the 2e, his fantastic short stories, and possibly a 3e year devoted to his novels. Maupassant is recognized as the Master of the short story. He wrote some nearly three hundreds. Among his short stories, one can, according to the tradition, distinguish the short stories of the real facts and the short stories of the unreal facts. For example, Boule de Suif forms part of the first, whereas Le Horla forms part of the seconds. But this division set of themes is practical only by its convenience to divide his works into realistic and fantastic short stories, and than, to delimit the objective of our project according to years. The method adopted in our research will be formalist, in sight to solve this problem, concerning how Maupassant produces the effect of real by narrative means. Today, the narratology is recognized as a useful tool of research, after the effort of the specialists like Rolland Barthes, Gerard Genette and Todorov. This method avoids the error formerly made by Sainte-Beuve, which consists in confusing the biographical and textual data, the error already denounced by Proust. The modernity of the narratologic method is that it feels reluctant to analyze a novel without taking at the same time into account the form of narrative structure. This principle became today obviously. Our subject naturally prolongs our research passed, centered on the works of Flaubert and the novel of the 19th century. Maupassant is the pupil of Flaubert. From the Master, the disciple learned not only the style, but also a little the ironic character. However, Maupassant has his proper talent, which is the mastering of the short text. He is the best short story writer than France knew, and like Borges has qualified the short story the perfect shape of the novel, this is why Maupassant interests us.
    顯示於類別:[法國語文學系暨研究所] 研究報告

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