敍述者的元小說操控：《法國中尉的女人》的認知詩學研究（簡體書）

《法國中尉的女人》是英國後現代作家約翰·福爾斯的代表作。現有評論大多針對其內容及主題，而很少涉及小說文本的語言機制以及敘述者操控元小說的具體技巧。本書運用認知詩學的理論分析這部元小說中的語言及文本機制：從而對這部作品中敘述者的技巧從新的角度進行探討。本書指出，敘述者對這部元小說的操控主要表現在以下三個方面：敘述者的顯性存在、頻繁的指示轉換以及貫穿全文的隱喻性思維和隱喻性語言；而“文本世界理論”、“認知指示語理論”和“概念隱喻理論”能夠揭示出敘述者在以上三個方面的技巧運用。本書對“文本世界理論”進行了修正，并以上述三個認知詩學理論為框架具體探討了《法國中尉的女人》中敘述者對元小說的操控。本書對認知詩學、認知文體學以及文學評論等方面的研究有一定的參考價值。

梁曉暉，清華大學外語系英語語言文學專業博士。現為國際關系學院英語系副教授，碩士生導師。英國東安格利亞大學英語學院、利茲大學英語學院訪問學者，中國文體學研究會會員。在《中國外語》、《外國語文》、Norwich Papers Studies in Translation（英國）等國內外學術期刊上發表有關文體學、英語閱讀理論的中英文論文十余篇，出版教材《全新英語讀寫一體化教程--閱讀與寫作》及譯著等多部。學術研究方向：英語文體學、閱讀與寫作策略。

序
前言
Abstract
Chapter 1 Introduction
Chapter 2 Literature Review
Chapter 3 Theoretical Description and Analytical Framework
Chapter 4 The Narrator's Unique Presence: Prominence of Quasi-discourse Worldin FLW
Chapter 5 The Narrator's Controlof Perception: Deictic Shifts across All the Worlds of FLW
Chapter 6 The Narrator's Expression of Attitudes: Conceptual Metaphors beyond Different Worlds in FLW
Chapter 7 Conclusion
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In summary， "the changed attitude to time" involves the conceptualmetaphor 'riME is SPACE which firstly refers to the freedom in traveling acrosstime both forwards and backwards， and secondly to the new concept of time-compression.Here the priority of time in the novel is reaffirmed by the narrator's keystatement that "what would have astounded him was the changed attitude to time itself". At this stage， it is more apparent that time is one of the cores of the narrator's concerns. It can be found in this section that， though FLW isnot a novel in content about time， with its absurd arrangement of narrationallo wing the objects of different ages to appear on the same stage and at the same time highlighting the time-compression conception， time is a significantconcept to help us enter the world ofthis novel.Next I am going to summarize the phenomenological view of time astextually reflected in FLW. Firstly， time is believed to have two directions andto be able to flow either forwards or backwards. Even when it flows for wards，it may skip a period of time， allowing things belonging to one particularperiod to jump into another. Secondly， time can be condensed to an extremely short span， as short as being just in the present， as quickly passing by as a flash.In the first case， time is not flowing in a single direction w:ith the past，the present and lastly the future going in a linear sequence. Instead， peoplecan enter time at any point as if it is a room， or follow the passage of time both forwards from the past to the present or the future， and backwards from the future to the present or the past. In this way， time begins to contain the feature of space and encourages us to map metaphorically from space to time.This is the first sense of the 'nME is SPACE metaphor.This sense is actually connected with the notion of the present of the past and that of the past of the present or the present of the future discussed in the last chapter. When time flows forwards or espeaally jumps from a past time span to a present time span， the present will carry the trace of the past，creating the notion of the present of the past. Or alternatively， when time flows backwards， the past may carry the influence of the present or the present may be framed by its future， creating the notion of the past of the present or of the present of the future. That is， when riME is SPACE， time can be traveled in any direction in people's conceptualization， people can skip from the past to the present instead of allowing time flowing gradually， forming the notion of the present of the past; or people can go from the present back to the pastor from the future back to the present， fornung the notion of the past of the present or of the present of the future.
In the second sense， time is not like what people originally think，flowing by regardless of anyone's intervention. Rather， it can be condensedIike a physical object which assumes a spatial existence， or in Currie's term "aspatialised block' （2007:　17）， which imbues the TIME IS SPACE metaphor with its second sense， This sense is in line with the notion of the perpetual presentdiscussed in the last chapter， with the present time always there in people'sconceptualization.Here is the message of the narrator's possible title for an essay: Humanbeing's existence for a phenomenologist is not following a linear sequence as in the real time， rather it presents a horizontal state in people's conception.Thus， for the narrator， anything with its development along a temporaldimension is horizontal， since time itself is horizontally extending， in stead of developing vertically. Time goes backwards as well as forwards and it can be condensed to a single point. Therefore， the possible title for FLW "On the Horizontality of Existence" actually implies the existence of the LIME is SPACEmetaphor， a metaphor wluch is going to be echoed by Charles' observationthat "time is a room".6，2.2 Charles' Metaphorical Thinking on Time In the previous part， it is discussed that the conceptual metaphor TIMEIS SPACE underlies the narrator's comments and his arrangement of the story in the quasi-discourse world. In this part， considerations will be given to the conceptual metaphor at the level of the text world， involving mainly the characteriation of the hero Charles， and at the level of the sub-world， beingconnected with the unique mental process of the character as reflected by hisspeech， thought or other types of considerations on the other hand.It will be exhibited at the end that the thematic structure along the conception of time not only organizes the narrator's quasi-discourse world，but also threads up the characteriation of the text world and verbal or mental process of the sub-world， thus binding the characters' text world and sub-world with the narrator's quasi-discourse world together.
To define Charles， the narrator reminds us again and again that Charles'thought is connected with the existentialist thinking， though the term is not coined at the character's time. Thus Charles can be found to hold the phenomenological existentialist view of time following Sartre. For example，when Charles goes to the Undercliff for fossils， he is amazed by the beauty in natural scenes and， in the appreaation of nature， becomes aware of the culturallimitation of his age. Here the modern term "existentialist" is brought in to show on the one hand that Charles has surpassed his contemporaries
in detecting the inadequacies of the approach of his time to nature and on the other hand that he could not depict clearly his own feeling without the modern existentialist philosophy. "After all， he was a Victorian. We could no texpect him to see what we are only just beginning-and with so much moreknowledge and the lessons of existentialist philosophy at our disposal-torealize ourselves: that the desire to hold and the desire to enjoy are mutuallydestructive" （63）.Charles' trans-age awareness of existentialism and his confusion for lack of existential terms are exhibited more clearly in his should-have-beenlast meeting with Sarah at the Undercliff. While waiting for Sarah who， beingdriven out of Mrs. Poulteney's home， is cleaning herselfinside the barn in the morning， Charles stands outside of the barn to consider Sarah's state. Charlessees two sides of Sarah and cannot decide which side is sincere.
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