字體：小 中 大 |
|
|
|
| 2021/07/28 04:52:47瀏覽443｜回應0｜推薦6 | |
| Excerpt：The Penguin Dictionary of Literary Terms and Literary Theory -about Proust 相較於 The Oxford Companion to English Literature，在這本詞典可以找出更多跟Proust相關的一些不同詞彙，包含 anamnesis (記憶)、deconstruction (解構)、écrivain/écrivant (作家/作者)、narrator (敘事者)、roman-fleuve (大河小說)、stream of consciousness (意識流)……讓我們觸類旁通，相信對於 Proust 也會有更多的認識。 https://www.amazon.com/Penguin-Dictionary-Literary-Terms-Theory/dp/0140513639 The Penguin Dictionary of Literary Terms and Literary Theory (Penguin Dictionary) 4th Edition by J. A. Cuddon (Author), (Author) [Excerpt] anamnesis (Gk recalling to mind) The recollection of ideas, people or events (in a previous existence). This is common in memoirs and autobiography (qq.v.), but it may also pervade a work of fiction or a poem. It is a special kind of harking back, and the maieutic processes of the writer often involve it. Proust’s A la recherche du temps perdu is a good example in fiction. Among poets, the anamnesic element is particularly noticeable in the work of W. B. Yeats, Ezra Pound, T. S. Eliot and W. H. Auden. deconstruction The term denotes a particular kind of practice in reading and, thereby, a method of criticism and mode of analytical inquiry. […] Deconstructive theory among American critics has been much in Derridas debt. Paul de Mans main collections of essays are Blindness and Insight (1971), Allegories of Reading (1979) and The Resistance to Theory (1986). Derrida and de Man met in 1966 and found that they were working on the same obscure text of Rousseau - On the Origin of Languages - but de Man worked for the most part independently of Derrida. De Man produced a famous critique (The Rhetoric of Blindness) of Derridas early text Of Grammatology, in which he deconstructs Derridas own reading of Rousseau. In Blindness and Insight de Man works out a complex theory that critics achieve insight at the cost of critical blindness. ln Allegories of Reading he attempts a deconstruction of figurative and rhetorical strategies in Rousseau, Nietzsche, Proust and Rilke, and contends that literary language is fundamentally self-reflexive rather than referential and that texts deconstruct themselves. écrivain/écrivant In an essay of 1960 called Ecrivains et écrivants, Roland Barthes distinguishes between two sorts of writer (and two sorts of writing). He suggest that the author performs a function and the writer an activity; that there are (a) the transitive writer (écrivant) and (b) the intransitive writer (écrivain). The former writes about things and the language he uses is the means to an extra-linguistic end, to a meaning or reality which is, in a sense, beyond the writing; the latter does not intend to take the reader beyond his writing but to call the attention of the reader to the activity of writing itself. The écrivain has nothing but writing itself, not as the “pure” form conceived by an aesthetic of art for arts sake [q.v.] but, much more radically, as the only area for the one who writes. Thus, one might surmise that Flaubert, Zola and Ernest Hemingway are transitive writers, and Proust, Joyce and Samuel Beckett are intransitive writers. Barthess taxonomy here is closely connected with his distinction between the lisible and the scriptible, or the reederly/writerly (q.v.). narrator Plato and Aristotle distinguished three basic kinds of narrator: (a) the speaker or poet (or any kind of writer) who uses his own voice; (b) one who assumes the voice of another person or persons, and speaks in a voice not his own; (c) one who uses a mixture of his own voice and that of others. […] What is known as the self-conscious narrator is one who employs techniques related to the theories of foregrounding and defamiliarization (qq.v.).By dint of baring the device (or devices) the writer reveals to and reminds the reader that the narration is a work of fiction while at the same time pointing up or exposing the discrepancies between the fiction and the reality which it purports or seems to represent. Tristram in Sternes Tristram Shandy (1760-67) is a notable instance. Others are Marcel in Prousts A la recherche du temps perdu (1913-27) and the narrator in Byrons Don Juan (1819-24). roman-fleuve A term used in modern fiction for a series of novels, each of which exists as a separate novel in its own right but dl of which are inter-related because the characters (some or all) reappear in each succeeding work. The vogue for this kind of encyclopaedic and epic chronicle was established in the 19th c. Balzac planned and in part executed his vast scheme of La Comédie humaine; Zola wrote his twenty-volume series Les Rougon-Macquart (1871-93) and the Spaniard Pérez Galdós produced his monumental Episodios nacionales (1873-1912), a cycle of historical novels covering the history of Spain from Trafalgar (1805) to the Restoration (1875). In the 20th c. four Frenchmen have undertaken works on a similar scale. Romain Rolland wrote Jean-Chistophe (1906-12) in ten volumes. Later he returned to the roman-fleuve scheme with LAme enchantée (1922-33) in seven volumes. Prousts monumental A la recherche du temps perdu (1913-27) consists of seven inter-related sections and occupied him for at least twelve years. Georges Duhamel began with the Vie et Aventures de Salavin (1920-32) in five novels, and followed this with Chronique des Pasquier (1933-45) in ten volumes. Jules Romains was even more ambitious with his Les Hommes de bonne volonté (1932-47), the generic tide of a series of twenty-seven novels covering a wide range of French life from 1908 to 1933. Galsworthy attempted the same sort of thing with The Forsyte Saga (1922). More recently there have been C. P. Snows Strangers and Brothars sequence (1940-70), which gives a documentary chronicle of English social history from 1925; Henry Williamsons A Chronicle of Ancient Sunlight (1951-69) in fifteen volumes; and Anthony Powells A Dance to the Music of Time (1951-76) in twelve volumes. A number of other novelists have used the trilogy and the tetralogy (qq.v.) to achieve a comparable continuity. stream of consciousness A term coined by William James in Principles of Psychology (1890) to denote the flow of inner experiences. Now an almost indispensable term in literary criticism, it refers to that technique which seeks to depict the multitudinous thoughts and feelings which pass through the mind. Another phrase for it is interior monologue (q.v.). […] The beginning of Joyces A Portrait of the Artist as a Young Man (1916) is an early indication of his interest in this technique. Meantime, Dorothy Richardson had begun to compile her twelve-volume Pilgrimage (1915-67) and Marcel Proust was at work on the equally ambitious A la recherche du temps perdu (1913-27). Henry James and Dostoievski had already indicated, through long passages of introspective writing, that they were aware of something like the stream of consciousness technique. So it seems that several original minds had been working, independently, towards a new method of writing fiction. Since the 1920s many writers have learned from Joyce and emulated him. Virginia Woolf (Mrs Dalloway, 1925; To the Lighthouse, 1927) and William Faulkner (The Sound and the Fury, 1931) are two of the most distinguished developers of the stream of consciousness method. There have been hundreds of others and it has long been a commonplace literary technique. |
|
| ( 知識學習｜隨堂筆記 ) |
