趙毅衡:論底本:敘述如何分層(註釋)

(原載“爱思想平台”)


[①] Barbara Herrstein Smith, 「Narrative Versions, Narrative Theories」, Critical Inquiry, (Autumn 1980), p. 224.

[②] 斯拉夫字母與拉丁字母的轉寫有幾種不同的系統,這兩個俄文詞的拉丁字母對寫不能確定。「Фабула」轉寫比較穩定:「fabula」,但「сюжет」的拉丁字母轉寫法有多種:「sjuzhet」,「sjuzet」,「suzet」,「sjuzhet」,「syuzhet」等,最後一種用得較多。

[③] Victor Shklovsky, 「Sterne』s Tristam Shandy: Stylistic Commentary」, in Russian Formalist Criticism: Four Essays, Lincoln: University of Nebraska Press, 1965, p. 56.

[④] Boris Tomashevsky, 「Thematics」, in Russian Formalist Criticism: Four Essays, p. 67.

[⑤] 詳見拙著《當說者被說的時候》,中國人民大學出版社1998年,第17頁。

[⑥] 申丹、王麗亞:《西方敘事學:經典與後經典》,北京大學出版社2010年版,第13頁。

[⑦] 米克·巴爾:《敘述學:敘事理論導論》,譚君強譯,中國社會科學出版社2003年版,第89頁。註意在她的用法中,「story「與許多敘述學者的用法正好相反。

[⑧] 傑拉德·普林斯《敘述學詞典》(喬國強,李孝弟譯,上海譯文出版社,2011年,215-216頁),在「story「一條下列舉了五個定義,在第一個定義中又分列了五個理解。

[⑨] 米克·巴爾說:「本位尼斯特用了『故事』(histoire)與『話語』(discours)這兩個術語。由於這些術語已經出現混亂,我在此避免使用。」(米克·巴爾《敘述學:敘事理論導論》譚軍強譯,中國社會科學出版社,2003年,8頁)

[⑩] Jacques Derrida, 「Living on Border Lines」, in Harold Bloom et al. (eds), Deconstruction & Criticism, New York: Seaburry Press, 1979, pp. 99-100.

[11] David Bordwell, Narration in the Fiction Film, Madison: University of Wisconsin Press, 1985, pp. 49-50.

[12] 例如波德威爾《古典好萊塢電影:敘事原則與常規》(李迅譯,載《世界電影》1998年第2期)。

[13] 參見拙作《當說者被說的時候》,中國人民大學出版社1994年版。

[14] 類似的命名並非無先例:有人建議稱之為「Telling」與「Told」(Nelson Goodman,「The Telling and the Told」,Critical Inquiry, Summer 1981,p. 3)。我曾經建議英文用「Narrated」與「Pre-Narrated」(見拙著《當說者被說得時候:比較敘述學導論》,中國人民大學出版社1994年版,第17頁)。

[15] Christian Metz, 「Story/Discourse: Notes on Two Kinds of Voyeurism」, in Movies and Methods, Vol II, Berkeley and Los Angeles: University of California Press, 1985, pp. 543-548.

[16] Cf. David Bordwell, Narration in Fiction Film.

[17] Mieke Bal, Narratology, Introduction to the Theory of Narrative, Toronto: University of Toronto Press, 1987.

[18] Barbara Herrnstein Smith, 「Narrative Versions, Narrative Theories」, Critical Inquiry, (Autumn 1980): 213-236

[19] Ting Nai-Tung, Cinderella Cycle in China and Indo-China, Helsinki: Academia Scientiarum Fennica, 1974, p. 40.

[20] Barbara Herrstein Smith, 「Narrative Versions, Narrative Theories」, p.221

[21] Barbara Herrstein Smith, 「Narrative Versions, Narrative Theories」, p 221

[22] Barbara Herrstein Smith, 「Narrative Versions, Narrative Theories」, p 231

[23] Seymour Chatman,Story and Discourse: Narrative Structure in Fiction and Film, Ithaca, N.Y.: Cornell University Press, 1978.

[24] Seymour Chatman. Story and Discourse: Narrative Structure in Fiction and Film, pp. 802-811.

[25] Seymour Chatman. Story and Discourse: Narrative Structure in Fiction and Film, p. 803.

[26] Mieke Bal, Narratologie: essai sur la signification narrative dans quatre romans modernes, Paris: Klincksiek, 1977.

[27] 轉引自譚君強《敘事學導論:從經典敘事學到後經典敘述學》,高等教育出版社2008年版,第6頁。

[28] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, Ithaca: University of Cornell Press, 1981, p. 170.

[29] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, p. 174.

[30] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, p. 175.

[31] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, p. 176.

[32] Brian Richardson, 「Denarration in Fiction: Erasing in the Story in Beckett and Others」, Narrative, No. 9 (2001): 168-175.

[33] Dan Shen, 「Defense and Challenge: Reflections on the Relation between Story and Discourse」, Narrative, (October 2002): p. 67

[34] 王長才:《阿蘭·羅伯—格里耶小說敘事話語研究》,巴蜀書社2009年版,第93—96頁。王長才把「Denarration」譯成「敘述改轍」,我個人覺得很妥帖,比其他人用的「消解敘述」清楚。

[35] Brian Richardson, 「Beyond Story and Discourse:Narrative Time in Postmodern and Nonmimetic Fiction」, in Narrative Dynamics: Essays on Time, Plot, Closure and Frames, Columbus: Ohio State University Press, 2002, pp. 47-64.

[36] Dan Shen, 「Defense and Challenge: Reflections on the Relation between Story and Discourse」, Narrative, (October 2002), p. 46

[37] Brian Richardson, 「Some Antinomies of Narrative Temporality: A Response to Dan Shen」, Narrative,(May 2003): 234-236.

[38] Dan Shen, 「What Do Temporal Antinomies Do to the Story-Discourse Distinction? A Reply to Brian Richardson』s Response」, Narrative, (May 2003): 237-241.

[39] 所謂「自然敘述」,是德國學者富魯德尼克(Monika Fludenik)1996年出版的著作《建立一種「自然」敘述學》(Towards a 「Natural」 Narratology)提出的,該書認為敘述學應當以「自然的」口頭講故事為基本模式。理查德森這批學者則提出「非自然敘述」,認為後現代小說已經無法用「自然敘述學」來處理。

[40] Jan Alber, Henrik Nelson, Stefan Iverson, and Brian Richardson, 「Unnatural Narration, Unnatural Narratology: Beyond Mimetic Model」, Narrative, May 2010。中譯文載《敘事》2011年第3期。

[41] Brian Richardson, 「Denarration in Fiction: Erasing in the Story in Beckett and Others」 Narrative, No. 9 (2001): 169.

[42] 申丹、王麗亞:《西方敘事學:經典與後經典》,北京大學出版社2010年版,第23頁。

[43] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, Ithaca: University of Cornell Press, 1981, p. 186.

[44] Seymour Chatman. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, N.Y.: Cornell University Press, 1978,p. 2.

[45] Roman Jakobson, 「The Metaphoric and Metonymic Poles」, in Roman Jakobson and Morris Halle, Fundamentals of Language, The Hague: Mouton, 1956, pp. 76-82.

[46] David Bordwell, Narration in the Fiction Film, p. 50.

[47] 申丹、王麗亞:《西方敘事學:經典與後經典》,第26頁。

[48] 米克·巴爾:《敘述學:敘事理論導論》,第213頁。

[49] Barbara Herrstein Smith, 「Narrative Versions, Narrative Theories」, p. 228

[50] Dorrit Cohn, Transparent Mind: Narrative Modes for Presenting Consciousness in Fiction. Princeton: Princeton University Press, 1978.

[51] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, Ithaca: University of Cornell Press, 1981, p. 172.

[52] Seymour Chatman. Story and Discourse: Narrative Structure in Fiction and Film, p. 43.

[53] 波德威爾:《古典好萊塢電影:敘事原則與常規》,載《世界電影》1998年第2期。

[54] 譚君強:《敘事學導論:從經典敘事學到後經典敘述學》,第7頁。

[55] 傑拉德·普林斯:《敘述學詞典》,喬國強、李孝第譯,上海譯文出版社2011年版,第70頁。

[56] 申丹、王麗亞:《西方敘事學:經典與後經典》,第34頁。

[57] Albert Camus,The Plague, New York: Vintage International, 1991, p. 268

[58] Jonathan Culler, In Pursuit of Signs: Semiotics, Literature, Deconstruction, Ithaca: University of Cornell Press, 1981, p. 183.

[59] Seymour Chatman,「Critical Response: Reply to B H Smith」, Critical Inquiry, (Summer 1981): 809.

[60] Christian Metz, 「Story/Discourse: Notes on Two Kinds of Voyeurism」, in Movies and Methods, Vol II, ed. Bill Nichols, Berkeley and Los Angeles: University of California Press, 1985, p. 544

[61] 波德威爾:《古典好萊塢電影:敘事原則與常規》。

[62] Slomith Remmon-Kenan, Narrative Fiction: Contemporary Poetics, London: Routledge, 2002, p. 7.

[63] Dan Shen, 「What Do Temporal Antinomies Do to the Story-Discourse Distinction? A Reply to Brian Richardson』s Response」, Narrative, May 2003, p. 239;又見申丹、王麗亞《西方敘事學:經典與後經典》,第21頁。

[64] 申丹、王麗亞:《西方敘事學:經典與後經典》,第23頁。

[65] 申丹、王麗亞:《西方敘事學:經典與後經典》,第27—29頁。

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