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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4288


    Title: 梅里美"伊爾的美神"之敘事分析;L'analyse narratologique de La Venus d'Ille de Prosper Merimee
    Authors: 郭安琪;An-Chi KUO
    Contributors: 法國語文學系
    Keywords: 十九世紀;法國文學;敘事學;神怪文學;梅里美;Ninteen century;French literature;Narratology;The literature of
    Date: 2009-07-10
    Issue Date: 2009-09-22 09:15:57 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 摘要 梅里美是法國十九世紀短篇小說的翹楚,《伊爾的美神》即是其眾多著作中最為人知的一篇,作者本人也視其為代表作。本故事的核心圍繞在一座神秘的雕像之上,作者化身為一名旅人,以第一人稱視點講述故事。敘事者親身經歷發生在法國西南方小鎮的一件謀殺案,而最大的嫌疑犯竟是沒有生命的維納斯雕像。在這個短篇小說中,梅里美結合當時頗受歡迎的兩個題材-神怪與警探故事,塑造一股詭異的氛圍,在故事的最後,不但沒有解謎,反而將謎題擴大,此般懸疑未解的結局,構成神怪小說的特徵之一。本文將以敘事學為分析的工具,探討神怪小說中詭譎的建構及其敘事技巧。 論文的第一章探討小說的情節。情節被許多評論家視為故事的骨幹,從神怪故事的角度,情節的推展就是建構懸疑的過程。從標題,首句,故事一開始便緊緊圍繞在雕像身上,每一個事件環環相扣,在謀殺過後劇情緊轉直下,警探的介入只是證明了神怪存在的可能性,於是在故事的尾聲,理性的敘事者只能機械化的轉述謀殺案後人物們的結局,而無法做出任何猜測和評論。 在第二章,本文探討的是人物在神怪故事裡的功能。在伊爾的美神中,人物可以被細分為兩個大類-恐懼者與令人恐懼的人物。除了雕像以外,所有的人物都是受到驚嚇的被害人。他們或多或少都受到雕像的迫害,也對雕像充滿害怕之情。而雕像作為唯一“令人恐懼”的人物,其建構是相當槙密的。從她的出土過程,形體,姿勢,儀態,臉部表情甚至是眼神,作者利用各種元素來賦予她邪惡的印象,作者同時使用一般人對維納斯和雕像的刻板印象和迷信,來加深她作惡的可能性。 第三章探討的是神怪故事中時間,空間和物件的排列和交替。故事時間是順時的,受制於短篇小說的篇幅,故事的進展節奏相當快速。然而作者在雕像的描寫上通常是不疾不徐,鉅細靡遺的。放緩的敘事速度顯示雕像在本文裡的重要性。此外,時間本身也是神怪的象徵,如星期五。在不祥之日,一切不尋常的感受通常都是一閃而逝的;這個一閃而逝的片刻構成自然世界與超自然世界的縫隙,人物脫離了原本的生活,進入神怪的領域。空間上,分為現實與超現實兩個世界。原本平凡無奇的小鎮,由於雕像的發現而成為神怪力量活動的場域,它便成為一個超自然的世界。雕像所處的空間也是令人避之唯恐不及的角落,人們總是和她保距離,然而,距離卻不是安全的保證書。在《伊爾的美神》中,人物受距離的阻隔而無法立即解決和雕像有關的難題,當距離消除持,往往為時已晚。謀殺案即是一來不及阻止的不幸事件。在新房中被殺害的新郎,完全顛覆了房間給予人的安全溫暖的印象,房間成了隔離,分別和死亡的象徵。 第三章的最後一個部分,探討的是神怪小說中物件的象徵意義。《伊爾的美神》中,雕像就是最令人玩味的物件。隨後出現的還有結婚戒指,網球比賽,木造的樓梯,和沉重的腳步聲,每一個物件都證明維納斯雕像的力量。最後雕像被毀,熔成一口鐘,鐘構成新的邪惡力量繼續在伊爾作亂,使得當地賴以維生的農作物連續被凍壞,植物也是為維納斯的受害者之一。 Abstract Known as the inspector of historical monuments, Prosper Mérimée is one of the best novelists in the French literature of the nineteenth century. « La Vénus d’Ille » tells the story of a statue of Venus who comes to life and kills a man whom it believes to be its own husband. In this dissertation, we intend to study the narration of this horror short story, which is often considered to be the masterwork of Mérimée. The author turns to be the narrator who uses the first person narrative mode. His point of view determines and conveys the story to his audiences. The narrative mode of this story is also seen as typical within the fantastic stories. In chapter one, we aim to understand the plots of « La Vénus d’Ille ». We will be concentrated on the combination of every events and especially on their functions during the course of narration. The connected events are moved through the beginning, the middle and the end. Such process certainly requires the participation of the actors. Thus in the next chapter, we attempt to analyze the actors in « La Vénus d’Ille ». What we will do first is to classify the actors into two categories: les inquiétés, the ones who are frightened, and l’inquiétant, the figure who frightens. Those who are frightened are naturally the victims of the phantom. We will underline every details and elements in their action and the speech because such elements serve as the indicator of each character. In chapter three, we purpose to explore the settlement of time, space and the objects. The story time implies conventionally the ideal chronological order and the natural chronology. Some qualify the temporal succession as the cause et effect relation of the text. The construction of space represents the physical surrounding of the actors. In a horror story, the space is usually significant. The study of the objects will also focalized on their symbolical meanings as the objects in « La Vénus d’Ille » imply indirectly the existence of the immoral Vénus and her indestructible power.
    Appears in Collections:[法國語文研究所 ] 博碩士論文

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