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①Robert Scholes,James Phelan,and Robert Kellogg(eds.),The Nature of Narrative,2nd edition,New York:Oxford University Press,2006. ②James Phelan,"Narrative Theory,1996-2006:A Narrative",in The Nature of Narrative,pp.xiii—xv. ③参见布莱恩·麦克黑尔所写的“Beginning to Think about Narrative in Poetry”(Narrative,2009,17,pp.11—27)和布莱恩·麦克阿里斯特所编辑的“Narrative Theory and Poetry”(Narrative,2014,22.2[Special Issue])。 ④要想全面理解多年来评论该领域各个方面的多重声音，请参阅“叙事学在线手册”，网址http://www.lhn.uni—hamburg de/。 ⑤Ian McEwan,Atonement,New York:Doubleday,2001. ⑥Brian Richardson,Unnatural Voices:Extreme Narration in Modern and Contemporary Fiction,Columbus:Ohio State University Press,2006. ⑦Monika Fludernik,Towards a "Natural" Narratology,New York:Routledge,1996. ⑧Jan Alber,HenrikSkov Nielsen,and Brian Richardson(eds),Poetics of Unnatural Narrative,Columbus:Ohio State University Press,2013. ⑨Jan Alber,Stefan Iversen,HenrikSkov Nielsen,and Brian Richardson,"Unnatural Narratives,Unnatural Narratology:Beyond Mimetic Models",Narrative,2010,18(2):pp.113—136. ⑩David Herman,et al(eds),Narrative Theory:Core Concepts and Critical Debates,Columbus:Ohio State University Press,2012. (11)Brian Richardson,Unnatural Narrative:Theory,History,and Practice,Columbus:Ohio State University Press,2015. (12)David Herman,et al(eds.),Narrative Theory:Core Concepts and Critical Debates,p.22 (13)在《非自然叙事诗学》(Poetics of Unnatural Narrative,Columbus:Ohio State University Press,2013)中，尼尔森的论文探索得更深入，他提出了一个有趣的观点，认为同一个叙事作品可能被创造性地认为要么是模仿现实的，要么是非自然的。 (14)(15)Brian Richardson,"Denarration in Fiction:Erasing the Story in Beckett and Others",Narrative,2001,9(2):pp.168—175; p.171. (16)Ian McEwan,Atonement,New York:Doubleday,2001,p.350. (17)David Herman,et al(eds.),Narrative Theory:Core Concepts and Critical Debates,2012. (18)Richard Walsh,The Rhetoric of Fictionality,Columbus:Ohio State University Press,2007,p.7. (19)Henrik Nielsen,James Phelan,and Richard Walsh,"Ten Theses about Fictionality",Narrative,2015,23(1):pp.61—73. (20)Henrik Nielsen,and Simona Zetterberg Gjerlevsen,"Distinguishing Fictionality",Unpublished ms. (21)Ian McEwan,Atonement,p.351. (22)James Phelan,Experiencing Fiction,Columbus:Ohio State University Press,2008. (23)Paul Dawson,"Ten Theses against Fictionality",Narrative,2015,23(1):pp.74—100. (24)Lisa Zunshine,Why We Read Fiction,Columbus:Ohio State University Press,2006. (25)其他对认知传统贡献更大的著作包括赫尔曼(如The Emergence of Mind:Representations of Consciousness in Narrative Discourse in English,Lincoln:University of Nebraska Press,2011和Storytelling and the Sciences of Mind,Cambridge,MA:MIT Press,2013)、霍根(Cognitive Science,Literature,and the Arts:A Guide for Humanists.New York:Routledge,2003)和帕尔姆(Social Minds in the Novel.Columbus:Ohio State University Press,2010)。最重要的论文集是由尊塞恩主编的《文学认知研究牛津手册》(The Ox ford Handbook of Cognitive Literary Studies,New York:Oxford University Press,2015)。 (26)Lisa Zunshine,Why We Read Fiction,p.6. (27)同(26)：p.162. (28)(29)Lisa Zunshine,Strange Concepts and the Stories They Make Possible,Baltimore:Johns Hopkins University Press,2008; p.66. (30)尊塞恩也作出了重要的更正：在阅读了拉尔夫·萨瓦雷斯的著作后，她承认《我们为何阅读小说》具有一种“神经类型”偏见，并且它对那些自闭症人士的假设方式也受到了“思维失明”的影响。欲了解其所做更正及其对此后果的初始研究，请参阅萨瓦雷斯和尊塞恩("The Critic as Neurocosmopolite; Or,What Cognitive Approaches to Literature Can Learn from Disability Studies:Lisa Zunshine in Conversation with Ralph James Savarese." Narrative,2014,22[1]:pp.17—44)。 (31)Ian McEwan,Atonement,p.80. (32)在帕尔默对《思维的出现》一书所做的供稿("1945-:Ontologies of Consciousness",in The Emergence of Mind,Lincoln:University of Nebraska Press,2011,pp.273—298)中，他对《赎罪》做了大量分析，但未聚焦于麦克尤恩对社会思维的运用(这不是小说的主要特征)，而是关注读者对小说内嵌小说结构中意识再现方式的理解。在《小说中的社会思维》(Social Minds in the Novel,Columbus:Ohio State University Press,2010)中，帕尔默并未对麦克尤恩《持久的爱》进行有趣的分析。其文("Attributions of Madness in Ian McEwan's Enduring Love",Style,2009,43[3]:pp.291—308)首次出现在《文体》杂志(“特性”专刊)上，本人对此做了回应("Cognitive Narratology,Rhetorical Narratology,and Interpretive Disagreement:A Response to Alan Palmer's Analysis of Enduring Love",Style,2009,43[3]:pp.309—21)。 (33)(34)(35)Ian McEwan,Atonement,p.112; p.154; p.26. (36)Robyn Warhol,and Susan S.Lanser(eds.),Narrative Theory Unbound:Queer and Feminist Interventions,Columbus:Ohio State University Press,2015. (37)并非所有《解放了的叙事理论》一书的供稿人都认为自己的主要研究领域是叙事理论，但本书可被看作近10年来女性主义理论在叙事研究领域内的扩展。两部由女性叙事学家创作的重要专著是纳什(Feminist Narrative Ethics:Tacit Persuasion in Narrative Form.Columbus:Ohio State University Press,2014)和马什(The Submerged Plot and the Mother's Pleasure from Jane Austen to Arundhati Roy.Columbus:Ohio State University Press,2016)，它们同样与修辞理论有关。 (38)Robyn Warhol,and Susan S.Lanser(eds),Narrative Theory Unbound:Queer and Feminist Interventions,p 27. (39)同(38),p 29. (40)Ian McEwan,Atonement,p.146. (41)Suzanne Keen,Empathy and the Novel,New York:Oxford University Press,2007,p.134. (42)James Phelan,"Rhetoric,Ethics,and Narrative Communication",Soundings:An Interdisciplinary Journal,2011,94:pp.55—75.近期一些对修辞理论的其他方面进行探索的重要著作包括卡特拉·拜勒姆(Ethics and the Dynamic Observer Narrator:Reckoning with Past and Present in German Literature,Columbus:Ohio State University Press,2015)、盖瑞·约翰逊(The Vitality of Allegory:Figural Narrative in Modern and Contemporary Fiction,Columbus:Ohio State University Press,2012.)和申丹(Style and Rhetoric of Short Narrative Fiction:Covert Progressions behind Overt Plots,New York:Routledge,2014.)。其中申丹的著作为其第一部英文专著。申教授的中文著述甚丰。 (43)Seymour Chatman,Story and Discourse:Narrative Structure in Fiction and Film.Ithaca:Cornell University Press,1978. (44)William Faulkner,The Sound and the Fury,New York:Vintage International,1990,p.3.[此处小说译文出自李文俊译本。] (45)(46)Ian McEwan,Atomement,p.294; p.157. (责任编辑：admin) |