论文部分内容阅读
本文以非裔历史学者亨利·盖茨与女性叙事研究学者苏珊·兰瑟对非裔女作家赫斯顿的小说《他们眼望上苍》(1937)中女主人公珍妮叙事声音的不同评价为出发点,以巴赫金的话语理论、叙事学的自由间接引语理论以及詹姆逊有关现代主义小说中的自由间接话语分析为理论基础,对珍妮的三种叙事声音(作者型声音,人物型声音和双声型声音)进行了分析。本文指出盖茨以双声型声音作为珍妮自我意识觉醒的体现,而兰瑟则更为关注珍妮在法庭自我辩护时声音的缺失。本文认为以标准英语为代表的作者型声音和以非裔土语为代表的人物型声音之间在语法、发音和书写上的巨大差异营造了白人叙事声音下的黑人故事框架,而在小说后半部分逐渐增多的双声型声音则体现出赫斯顿试图将作者型声音和人物型声音融合并赋予非裔女主人公独特叙事声音的贡献。
This article starts from the different evaluations of African historical scholar Henry Gates and female narrative researcher Susan Lanser on the narrative voice of the heroine Jenny in the novel “They See God” (1937) , Based on Bakhtin’s theory of discourse, the theory of free indirect quotation of narratology and Jameson’s analysis of free indirect discourse in modernist novels, this thesis analyzes three of Jenny’s narrative voices (author voice, figure voice and Dual sound) was analyzed. This article points out that Gates’ s dual-sounding performance is the embodiment of Jenny’s self-awareness, and Lanser is more concerned about the lack of sound when Jenny self-defense in court. This paper argues that the great difference in grammar, pronunciation and writing between the author’s voice represented by standard English and the person’s voice represented by Afro-French language creates the black story framework under the white narrative voice. In the latter part of the novel, Some of the increasingly double-voiced sounds reflect the contribution of Heston’s attempts to fuse author-type sounds with personal sounds and to give the unique narrative of African-American heroines.