Discourse in a Novel

R. Branham
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引用次数: 1

Abstract

Plato points out in the Republic that epic, antiquity’s most influential narrative form, alternates between diēgēsis and mimēsis. The poet either speaks narratively (diēgēsis) or imitates characters’ speech (mimēsis). (Indirect speech is rare in Homer.) The poet-narrator’s speech is kept clearly distinct from the characters’ because they are so linguistically homogeneous. Characters and narrator speak identically, so the individuality we expect in novelistic speech is impossible. Access to characters’ consciousness is limited to poetic diēgēsis of their actions and mimēsis of their words. Plato’s distinction is fundamental, but Lodge argues it is not “adequate to describe novelistic discourse.…[T]he relationship between mimēsis and diēgēsis in the novel is much more subtle and complicated…; we encounter in the novel a third kind of discourse[,] which…Bakhtin calls doubly-voiced or doubly-oriented.”
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小说中的话语
柏拉图在《理想国》中指出,史诗,古代最具影响力的叙事形式,在diēgēsis和mimēsis之间交替出现。诗人不是叙事性地说话(diēgēsis),就是模仿人物的说话(mimēsis)。(间接引语在荷马语中很少见。)诗人叙述者的演讲与人物的演讲明显不同,因为他们在语言上是同质的。人物与叙述者的话语是同一性的,因此我们在小说话语中所期望的个性是不可能的。要了解人物的意识,只能通过他们富有诗意的diēgēsis行动和mimēsis言语。柏拉图的区分是基本的,但洛奇认为它“不足以描述小说话语”。[T]小说中mimēsis和diēgēsis之间的关系更加微妙和复杂…;我们在小说中遇到了第三种话语,巴赫金称之为双重声音或双重导向。”
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