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頁籤選單縮合
題名 | Plotting Temporality=鋪排時間--偵探小說中的雙重時間性 |
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作者 | 林淑琴; Lin, Shu-chin; |
期刊 | 英語語言與文學學刊 |
出版日期 | 20060200 |
卷期 | 17 民95.02 |
頁次 | 頁111-119 |
分類號 | 823.81 |
語文 | eng |
關鍵詞 | 時間性; 情節類型; 推理偵探小說; 私家偵探小說; Temporality; Plot pattern; Detective fiction; Whodunit genre; Private eye genre; |
中文摘要 | 茲維坦‧特多洛夫於一九六六年一篇廣為流傳的論文:<偵探小說類型>中倡議偵探小說基本的情節結構具有雙重的時間性,包括「犯罪故事」及「偵查故事」。第一故事(犯罪故事)結束正是第二故事(偵查故事)展開的時候。第二故事的發展終究會導向解決第一故事裡的犯罪事件,兩個時間於是會合。敘事的時間性將偵探小說分成兩種主要類型:推理小說和驚悚小說(或稱為「硬漢派」私家偵探小說)。在推理類型中,眼前偵查的目的和活動是為了了解過去發生的種種。相對的,驚悚類型的犯罪事件引發偵探的調查活動,這個原初的犯罪事件在敘事中往往不重要,敘事主力反而集中在偵探眼前或即將面對的挑戰。這類敘事形式提供情節發展的各種可能性,讓作者有十足的空間來討論自己關心或感興趣的議題。而私家偵探小說類型往往根植於社會寫實。推理小說的作者則忙於解決謎題,不重視社會現實的重現。本論文以克莉絲蒂、漢密特、錢德勒和麥當勞的小說為例,運用特多洛夫偵探小說類型的理論來分析和比較兩種偵探小說類型的時間性。本文同時分析麥當勞如何結合兩種類型的時間層次來鋪排情節,一則讓偵探在時間中往前進,一則往後退尋找角色行事的動機,表現複雜的社會現象和個人心理,創造出充滿懸疑和社會關懷的作品。 |
英文摘要 | Tzvetan Todorov, in his widely-discussed 1966 essay, "The Typology of Detective Fiction", argues that the basic plot structure of detective fiction consists of a dual temporality involving "the story of crime" and "the story of investigation." The first story (the story of crime) ends when the second story (the story of investigation) begins. The development of the second story eventually and inevitably leads to the resolution of the crime of the first story, and the two temporal dimensions thus meet in full circle. This aspect of temporality in the narrative divides detective fiction into two major genres: the whodunit and the thriller (or the "hard-boiled," private eye genre). In the whodunit genre, the purpose of present queries and actions is to understand the crime of the past. In contrast, crime in the thriller genre initiates the detective's quest, although it is often insignificant to narrative development, with narrative interest focused instead upon new challenges the detective faces in the present. This type of narrative allows for numerous plot possibilities and enables authors to touch upon matters of special interest and concern, and the hardboiled genre is therefore typically imbued with social realism. At the same time, the puzzle-solving narrative scheme of the whodunit genre does not in the thriller form consume the author's attention. This paper uses Todorov's typology of detective fiction to analyze Ross Macdonald's (1915-1983) works. It examines how Macdonald combines the conventions of the two genres to create a rich repertoire of suspenseful and socially-motivated detective novels. In order to solve the initial crime (for which the detective is hired), Macdonald's detective has to travel forward in time to interview related people and visit sites significant to his clients and the crimes in which they are embroiled. However, his action continually draws him to the past, where he uncovers their secrets and motivations. These paradoxical temporal movements in Macdonald's work weave a complicated and complex fictional universe. The paper also analyzes and compares representative works by Agatha Christie, Dashiell Hammett and Raymond Chandler to those of Macdonald in order to illustrate his mastery of temporal manipulation. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。