沃特·莫斯利小说《蓝衣魔鬼》叙事特征解析
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摘要
本文以叙事学理论为支撑,从侦探小说传统、叙事语言和叙事情境三个方面分析了美国当代黑人小说家沃特·莫斯利的硬汉侦探小说代表作——《蓝衣魔鬼》。
欧美侦探小说从发轫之初到现在已经历了160多年的历史。从早期的古典侦探小说到二十世纪二十年代后期兴起的硬汉侦探小说,再到二战以后出现的众多新派侦探小说,其间侦探小说从形式到内容均经历了诸多变化。然而作为通俗小说的一种,侦探小说又有一定的约定俗成的传统需要遵循,本文第一部分从侦探小说的叙事传统出发,分别从小说背景设置、侦探形象塑造、故事模式、罪案调查方式和侦探助手形象等几方面来解读《蓝衣魔鬼》,通过与古典和硬汉侦探小说传统的对比分析,指出该部作品的继承与创新之处。
叙事语言是指叙事作品中文本所使用的语言。本文第二部分分别从叙事学中书写、语法、语义角度分析了莫斯利《蓝衣魔鬼》这部作品的语言偏离现象。在书写层面,作者采用了黑人方言和个人方言两种手段；在语法层面,作者主要采用了个别词汇反复重现的方式达到偏离常规的目的；在语义层面,作者使用了常用的几种修辞手段,如明喻,暗喻,反讽,象征等手法来达到语义偏离的目的。偏离手法的运用,使这部小说在语言上不仅体现了黑人独特的话语表达魅力,还突出了作品在种族、身份等方面的主题。
《蓝衣魔鬼》不仅在叙事语言上有独到之处,在叙事情境的构建上也匠心独运。本文第三部分从叙事情境入手,具体在叙事方式和叙事观点两方面分析了这部作品。在叙事方式方面,莫斯利不仅运用了大量的描写和对话来展示作品中的众多人物及其所处时代及社会背景,在文本中也有一定数量揭示人物特点或提示主题的讲述性的概述和评论。小说作者技巧娴熟的展示与讲述两种叙事方式的变换,不仅给读者建构了二十世纪四十年代末种族歧视背景下真实的美国洛杉矶黑人聚居区——华兹,同时还使得作品中诸多的人物形象跃然纸上。叙事角度方面,莫斯利并没有采用第一人称叙事中常见的以叙事自我为主导的方式,而是使用经验自我引导叙事,由于使用的是第一人称回顾性的叙事手法,经验自我占据主导内容的手法使得读者能够同侦探一道去经历侦探过程,极大地提高了读者的参与性；另一方面通过聚焦点在经验自我和叙事自我之间不断交叉转换以产生悬念,给读者奉献了一场充满了悬念艺术的侦探小说盛宴。
随着当代社会对通俗文化的认识的不断改变,人们对文化研究的态度也随之发生转变,对于侦探小说这类畅销多年的通俗文学作品,我们也应对其报以应有的关注。而分析其他经典文学所常用的方法,如叙事学理论,也应该运用于对侦探小说作品的研究,这不仅有助于加深人们对那些所谓“不登大雅之堂”的侦探文学作品的认识,也为其他通俗文学研究者提供有益的方法借鉴。
Mainly based itself on the theory of narratology, this MA thesis aims to make an analysis of the hardboiled detective novel Devil in a Blue Dress by African American writer Walter Mosley. This study will analyze the novel from three aspects, namely the narrative conventions, narrative language and narrative situation.
Ever since its birth in 1841 when Edgar Allan Poe published his first detective story, detective fiction has gone through a history of more than 160 years, from the early classic detective stories in the middle of the nineteenth century and the hardboiled detective novels which start to emerge in the late 1920s, to the newly-emerged schools of detective fiction after the Second World War, it constantly changes and subverts itself in forms and content over the course of its history. However, as one type of genre fiction, certain rules and regulations also have to be followed. Based upon the conventions shared by the early classic detective novels and the later hardboiled novels, this thesis analyzes the novel Devil in a Blue Dress from the following conventions in a detective story, namely the setting, detective, story, method of investigation and assistant of a detective. Through the analysis of narrative conventions, this thesis hopes to analyze and point out the heritage and inventions of this novel in terms of genre conventions of detective fiction.
While incorporating the theory of narratology into the detailed study of language in the text, this paper also extends an analysis of the language deviation in the novel from three levels, graphology, grammar and semantics. On the level of graphology, the writer of the novel mainly deploys two kinds of dialects, the black vernacular and idiolect to achieve variation in language. On the level of grammar, its method of achieving deviation is through the repetition of certain vocabularies. And in terms of semantics, it mainly uses certain kinds of tropes and symbolism to reach the goal of deviation. Through the analysis of the language of the novel, this paper will illustrate to the readers that, as an African American novelist, Mosley not only shows his unique potentials in the expression of language, but highlights the themes of race and identity in the novel.
From the perspective of narrative situation, this paper analyzes this novel from two points, narrative modes and perspectives. Firstly, Mosley uses descriptions of characters, scenes and direct speech of dialogues to achieve the effect of showing; Secondly, he also employs summary and comment to tell. Through the skillful switching between showing and telling, Mosley not only constructs a real Watts neighborhood in L.A in the late 1940s, but makes his characters become real. As for the two narrating selves, unlike other writers who usually make the narrating self take the lead in the process of narration, Mosley let the experiencing self take a dominant position in narration. This arrangement enables the readers to take an active role in participating in the process of the detective's investigation. In addition, Mosley intentionally makes the focus of narration switch from the experiencing self to the narrating self, the insertion of the narrating self in the normal flow of narration often provides the text with enough suspense. Through the constant change and overlapping of the narrating self and experiencing self, the writer of the novel pushes the art of the suspense in the novel to a new height.
With people's change of view toward detective fiction, our attitude toward the study of this branch of culture also has to be changed. Instead of turning a blind eye, now we should lay more emphasis on the study of popular detective fiction. Moreover, the critical approaches, such as the theory of narratology, which is frequently applied to the study of other classic literature, should also be deployed in the study of detective fiction. This study will help us have a further change in our viewpoints of the so-called "low-brow" popular culture, and provide a referential research method for other forms of genre fictions.
欧美侦探小说从发轫之初到现在已经历了160多年的历史。从早期的古典侦探小说到二十世纪二十年代后期兴起的硬汉侦探小说,再到二战以后出现的众多新派侦探小说,其间侦探小说从形式到内容均经历了诸多变化。然而作为通俗小说的一种,侦探小说又有一定的约定俗成的传统需要遵循,本文第一部分从侦探小说的叙事传统出发,分别从小说背景设置、侦探形象塑造、故事模式、罪案调查方式和侦探助手形象等几方面来解读《蓝衣魔鬼》,通过与古典和硬汉侦探小说传统的对比分析,指出该部作品的继承与创新之处。
叙事语言是指叙事作品中文本所使用的语言。本文第二部分分别从叙事学中书写、语法、语义角度分析了莫斯利《蓝衣魔鬼》这部作品的语言偏离现象。在书写层面,作者采用了黑人方言和个人方言两种手段；在语法层面,作者主要采用了个别词汇反复重现的方式达到偏离常规的目的；在语义层面,作者使用了常用的几种修辞手段,如明喻,暗喻,反讽,象征等手法来达到语义偏离的目的。偏离手法的运用,使这部小说在语言上不仅体现了黑人独特的话语表达魅力,还突出了作品在种族、身份等方面的主题。
《蓝衣魔鬼》不仅在叙事语言上有独到之处,在叙事情境的构建上也匠心独运。本文第三部分从叙事情境入手,具体在叙事方式和叙事观点两方面分析了这部作品。在叙事方式方面,莫斯利不仅运用了大量的描写和对话来展示作品中的众多人物及其所处时代及社会背景,在文本中也有一定数量揭示人物特点或提示主题的讲述性的概述和评论。小说作者技巧娴熟的展示与讲述两种叙事方式的变换,不仅给读者建构了二十世纪四十年代末种族歧视背景下真实的美国洛杉矶黑人聚居区——华兹,同时还使得作品中诸多的人物形象跃然纸上。叙事角度方面,莫斯利并没有采用第一人称叙事中常见的以叙事自我为主导的方式,而是使用经验自我引导叙事,由于使用的是第一人称回顾性的叙事手法,经验自我占据主导内容的手法使得读者能够同侦探一道去经历侦探过程,极大地提高了读者的参与性；另一方面通过聚焦点在经验自我和叙事自我之间不断交叉转换以产生悬念,给读者奉献了一场充满了悬念艺术的侦探小说盛宴。
随着当代社会对通俗文化的认识的不断改变,人们对文化研究的态度也随之发生转变,对于侦探小说这类畅销多年的通俗文学作品,我们也应对其报以应有的关注。而分析其他经典文学所常用的方法,如叙事学理论,也应该运用于对侦探小说作品的研究,这不仅有助于加深人们对那些所谓“不登大雅之堂”的侦探文学作品的认识,也为其他通俗文学研究者提供有益的方法借鉴。
Mainly based itself on the theory of narratology, this MA thesis aims to make an analysis of the hardboiled detective novel Devil in a Blue Dress by African American writer Walter Mosley. This study will analyze the novel from three aspects, namely the narrative conventions, narrative language and narrative situation.
Ever since its birth in 1841 when Edgar Allan Poe published his first detective story, detective fiction has gone through a history of more than 160 years, from the early classic detective stories in the middle of the nineteenth century and the hardboiled detective novels which start to emerge in the late 1920s, to the newly-emerged schools of detective fiction after the Second World War, it constantly changes and subverts itself in forms and content over the course of its history. However, as one type of genre fiction, certain rules and regulations also have to be followed. Based upon the conventions shared by the early classic detective novels and the later hardboiled novels, this thesis analyzes the novel Devil in a Blue Dress from the following conventions in a detective story, namely the setting, detective, story, method of investigation and assistant of a detective. Through the analysis of narrative conventions, this thesis hopes to analyze and point out the heritage and inventions of this novel in terms of genre conventions of detective fiction.
While incorporating the theory of narratology into the detailed study of language in the text, this paper also extends an analysis of the language deviation in the novel from three levels, graphology, grammar and semantics. On the level of graphology, the writer of the novel mainly deploys two kinds of dialects, the black vernacular and idiolect to achieve variation in language. On the level of grammar, its method of achieving deviation is through the repetition of certain vocabularies. And in terms of semantics, it mainly uses certain kinds of tropes and symbolism to reach the goal of deviation. Through the analysis of the language of the novel, this paper will illustrate to the readers that, as an African American novelist, Mosley not only shows his unique potentials in the expression of language, but highlights the themes of race and identity in the novel.
From the perspective of narrative situation, this paper analyzes this novel from two points, narrative modes and perspectives. Firstly, Mosley uses descriptions of characters, scenes and direct speech of dialogues to achieve the effect of showing; Secondly, he also employs summary and comment to tell. Through the skillful switching between showing and telling, Mosley not only constructs a real Watts neighborhood in L.A in the late 1940s, but makes his characters become real. As for the two narrating selves, unlike other writers who usually make the narrating self take the lead in the process of narration, Mosley let the experiencing self take a dominant position in narration. This arrangement enables the readers to take an active role in participating in the process of the detective's investigation. In addition, Mosley intentionally makes the focus of narration switch from the experiencing self to the narrating self, the insertion of the narrating self in the normal flow of narration often provides the text with enough suspense. Through the constant change and overlapping of the narrating self and experiencing self, the writer of the novel pushes the art of the suspense in the novel to a new height.
With people's change of view toward detective fiction, our attitude toward the study of this branch of culture also has to be changed. Instead of turning a blind eye, now we should lay more emphasis on the study of popular detective fiction. Moreover, the critical approaches, such as the theory of narratology, which is frequently applied to the study of other classic literature, should also be deployed in the study of detective fiction. This study will help us have a further change in our viewpoints of the so-called "low-brow" popular culture, and provide a referential research method for other forms of genre fictions.
引文
4See http://en.wikipedia.org/wiki/Genre fiction
5For specific knowledge of the division, see Yuan Honggeng "the Study on the Origin and Evolution of Modern British and American Detective Fiction". Foreign Literature, Fourth Session,2005.
Auden, W.H. The Guilty Garage. The Dyer's Hand. London:Faber and Faber,1962
Berger, Roger A. The Black Dick:Race Sexuality, and Discourse in the L.A. Novels of Walter Mosley. African American Reviev (1997):281-92.
Berrettini, Mark L. Private Knowledge, Public Space:Investigation and Navigation in Devil in a Blue Dress. Cinema Journal 39.1 (1999):74-89.
Boheim, Helmut, The Narrative Modes:Techniques of the short story[M] Cambridge:D.S.Brewer,1982.
Booth, Wayne C. The Rhetoric of Fiction. Chicago:The University of Chicago Press, 1983.
Card, Orson Scot, Character and Viewpoint [M], New York:Writer's Digest Books, 1988.
Cawelti, John G. Adventure, Mystery and Romance:Formula Stories as Art and Popular Culture. Chicago and London:U of Chicago P,1976
Chatman, Seymour Story and Discourse:Narrative Structure in Fiction and Film, Ithaca:Cornell University Press,1978:52.
Coale, Samuel, The mystery of Mysteries:Cultural Differences and Designs. Bowling Green:Bowling State U Popular P,2000
Crooks, Robert. From the Far Side of the Urban Frontier:The Detective Fiction of Chester Himes and Walter Mosley. College Literature22.3 (1995):68-90.
Curwen, Thomas. Walter Mosley on L.A.'s Mean Streets. Los Angeles Times, Oct.17, 1999, Book Review section:1.
Delamater, Jerome H. and Ruth Prigozy, eds. Theory and Practice of Classic Detective Fiction. Westport, Conn.:Greenwood Press,1997.
Daynard, Jodi. Characters Struck by a Bolt from the Blue. The Boston Globe, Nov.8, 1998:K2.
Du Bois, W.E.B. The Souls of Black Folk.1903. New York:New American Library, 1969.
Franklin, Carl, dir. Devil in a blue Dress. Perf. Jennifer Beals, Don Cheadle. Tom Sizemore and Denzel Washington. Video. Columbia Tristar,1995.
Freeman, R. A. The art of the detective story [M]. London:Dodd, Mead,1924.
Howard Haycraft Ed. Chandler, Raymond. "The Simple Art of Murder". The Art of the Mystery Story. New York:Simon and Schuster,1946:237.
Huhn, Peter. The Detective As Reader:Narrativity and Reading Concepts in Detective Fiction, Modern Fiction Studies, Vol.33, No.3 (Autumn 1987)
Leech, Geoffrey N., and Short, Michael H. Style in fiction:a linguistic introduction to English fictional prose [M] London; New York:Longman,1981
Lomax, Sara M. Double Agent Easy Rawlins. American Visions (April/May 1992): 32-33.
Mason, Theodore L., Jr. Walter Mosley's Easy Rawlins:The Detective and Afro-American Fiction. The Kenyon Review 14:4 (Fall 1992):173-83.
Martin Grams, Jr.,1997. Murder and Suspense:Hitchcock's Established Reputation [A]http://www.labyrinth.net.au/-muffin/suspense_chtml.
McCullough, Bob "PW Interviews Walter Mosley." Publishers Weekly 23 May 1994
Mosley, Walter. Devil in a Blue Dress. New York:W. W. Norton, New York:Norton, 1990.
Page, N. Speech in the English Novel, Longman,1973:16.
Panek, Leroy. Probable Cause:Crime Fiction in America. Bowling Green:Bowling Green State University Popular Press,1990
Pietsch, Michael. A Conversation with Walter Mosley, June 1998. Time WarnerBookmark,http://www.twbookmark.com/features/waltermosley.coni/ meet walter/interview.html.
Ralph Willett, Hard-Boiled Detective Fiction BAAS Pamphlet No.23 (First Published 1992),http://www.baas.ac.uk/resources/pamphlets/pamphdets.asp?id=23# top.
Roger A, Berger.'The black dick':Race, sexuality, and discourse in the L.A. novels of Walter Mosley. African American Review, summer 1997, Vol.31, Issue 2.285
Porter, Dennis. The Pursuit of Crime:Art and Ideology in Detective Fiction. New Haven:Yale University Press,1981.
Scott, Allen J., and Edward W. Soja. Introduction to Los Angeles:City and Religion. The City:Los Angeles and Urban Theory at the End of Twentieth the End of the Twentieth Century. Ed. Allen J. Scott and Edward W. Soja. Berkeley:University of California Press,1996.1-21.
Sherman, Charlotte Watson. Walter Mosley on the Black Male Hero. American Visions 10.4(1995):34-37.
Soitos, Stephen F. The Blues Detective:A Study of African American Detective Fiction. Amherst:U of Mass P,1996.
Stanzel, F.K., A Theory of Narrative. Trans. Charlotte Goedsche (Cambridge: Cambridge University Press,1984), pp,46-62.248-50.
Steele, T. The Structure of the detective story:Classical or modern? [J]. Modern Fiction Studies,1981.
Van Dine, S. S. Twenty Rules for Writing Detective Stories. The Art of the Mystery Story. Ed. Howard Haycraft. New York:Simon and Schuster,1946:189-193.
Wesley, Marilyn C. Power and Knowledge in Walter Mosley's Devil in a Blue Dress-Critical Essay African American Review,35:1 (Spring,2001):103-116.
Woods, Paula L., ed. Spooks, Spies, and Private Eyes:Black Mystery, Crime, and Suspense Fiction of the 20th Century. New York:Doubleday,1995.
Mary Young. Walter Mosley, Detective Fiction and Black Culture. Journal of popular culture. Blackwell Publishers Ltd.1998:149
申丹.叙述学与小说文体学研究[M].北京：北京大学出版社,1998.
黄禄善.美国通俗小说史[M].南京：译林出版社,2003.
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5For specific knowledge of the division, see Yuan Honggeng "the Study on the Origin and Evolution of Modern British and American Detective Fiction". Foreign Literature, Fourth Session,2005.
Auden, W.H. The Guilty Garage. The Dyer's Hand. London:Faber and Faber,1962
Berger, Roger A. The Black Dick:Race Sexuality, and Discourse in the L.A. Novels of Walter Mosley. African American Reviev (1997):281-92.
Berrettini, Mark L. Private Knowledge, Public Space:Investigation and Navigation in Devil in a Blue Dress. Cinema Journal 39.1 (1999):74-89.
Boheim, Helmut, The Narrative Modes:Techniques of the short story[M] Cambridge:D.S.Brewer,1982.
Booth, Wayne C. The Rhetoric of Fiction. Chicago:The University of Chicago Press, 1983.
Card, Orson Scot, Character and Viewpoint [M], New York:Writer's Digest Books, 1988.
Cawelti, John G. Adventure, Mystery and Romance:Formula Stories as Art and Popular Culture. Chicago and London:U of Chicago P,1976
Chatman, Seymour Story and Discourse:Narrative Structure in Fiction and Film, Ithaca:Cornell University Press,1978:52.
Coale, Samuel, The mystery of Mysteries:Cultural Differences and Designs. Bowling Green:Bowling State U Popular P,2000
Crooks, Robert. From the Far Side of the Urban Frontier:The Detective Fiction of Chester Himes and Walter Mosley. College Literature22.3 (1995):68-90.
Curwen, Thomas. Walter Mosley on L.A.'s Mean Streets. Los Angeles Times, Oct.17, 1999, Book Review section:1.
Delamater, Jerome H. and Ruth Prigozy, eds. Theory and Practice of Classic Detective Fiction. Westport, Conn.:Greenwood Press,1997.
Daynard, Jodi. Characters Struck by a Bolt from the Blue. The Boston Globe, Nov.8, 1998:K2.
Du Bois, W.E.B. The Souls of Black Folk.1903. New York:New American Library, 1969.
Franklin, Carl, dir. Devil in a blue Dress. Perf. Jennifer Beals, Don Cheadle. Tom Sizemore and Denzel Washington. Video. Columbia Tristar,1995.
Freeman, R. A. The art of the detective story [M]. London:Dodd, Mead,1924.
Howard Haycraft Ed. Chandler, Raymond. "The Simple Art of Murder". The Art of the Mystery Story. New York:Simon and Schuster,1946:237.
Huhn, Peter. The Detective As Reader:Narrativity and Reading Concepts in Detective Fiction, Modern Fiction Studies, Vol.33, No.3 (Autumn 1987)
Leech, Geoffrey N., and Short, Michael H. Style in fiction:a linguistic introduction to English fictional prose [M] London; New York:Longman,1981
Lomax, Sara M. Double Agent Easy Rawlins. American Visions (April/May 1992): 32-33.
Mason, Theodore L., Jr. Walter Mosley's Easy Rawlins:The Detective and Afro-American Fiction. The Kenyon Review 14:4 (Fall 1992):173-83.
Martin Grams, Jr.,1997. Murder and Suspense:Hitchcock's Established Reputation [A]http://www.labyrinth.net.au/-muffin/suspense_chtml.
McCullough, Bob "PW Interviews Walter Mosley." Publishers Weekly 23 May 1994
Mosley, Walter. Devil in a Blue Dress. New York:W. W. Norton, New York:Norton, 1990.
Page, N. Speech in the English Novel, Longman,1973:16.
Panek, Leroy. Probable Cause:Crime Fiction in America. Bowling Green:Bowling Green State University Popular Press,1990
Pietsch, Michael. A Conversation with Walter Mosley, June 1998. Time WarnerBookmark,http://www.twbookmark.com/features/waltermosley.coni/ meet walter/interview.html.
Ralph Willett, Hard-Boiled Detective Fiction BAAS Pamphlet No.23 (First Published 1992),http://www.baas.ac.uk/resources/pamphlets/pamphdets.asp?id=23# top.
Roger A, Berger.'The black dick':Race, sexuality, and discourse in the L.A. novels of Walter Mosley. African American Review, summer 1997, Vol.31, Issue 2.285
Porter, Dennis. The Pursuit of Crime:Art and Ideology in Detective Fiction. New Haven:Yale University Press,1981.
Scott, Allen J., and Edward W. Soja. Introduction to Los Angeles:City and Religion. The City:Los Angeles and Urban Theory at the End of Twentieth the End of the Twentieth Century. Ed. Allen J. Scott and Edward W. Soja. Berkeley:University of California Press,1996.1-21.
Sherman, Charlotte Watson. Walter Mosley on the Black Male Hero. American Visions 10.4(1995):34-37.
Soitos, Stephen F. The Blues Detective:A Study of African American Detective Fiction. Amherst:U of Mass P,1996.
Stanzel, F.K., A Theory of Narrative. Trans. Charlotte Goedsche (Cambridge: Cambridge University Press,1984), pp,46-62.248-50.
Steele, T. The Structure of the detective story:Classical or modern? [J]. Modern Fiction Studies,1981.
Van Dine, S. S. Twenty Rules for Writing Detective Stories. The Art of the Mystery Story. Ed. Howard Haycraft. New York:Simon and Schuster,1946:189-193.
Wesley, Marilyn C. Power and Knowledge in Walter Mosley's Devil in a Blue Dress-Critical Essay African American Review,35:1 (Spring,2001):103-116.
Woods, Paula L., ed. Spooks, Spies, and Private Eyes:Black Mystery, Crime, and Suspense Fiction of the 20th Century. New York:Doubleday,1995.
Mary Young. Walter Mosley, Detective Fiction and Black Culture. Journal of popular culture. Blackwell Publishers Ltd.1998:149
申丹.叙述学与小说文体学研究[M].北京：北京大学出版社,1998.
黄禄善.美国通俗小说史[M].南京：译林出版社,2003.
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