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我们可以把一个个人叙事表演看成是同时在两个层面上进行的意义建构活动。它建构了思维主体(thinking subject)和被叙述事件(the narrated event)(她自己的生活经验)之间以及思维主体和叙述事件(narrative event)(她“假定对一个受众有展现交际能力的责任”之间的一个动态的互动过程。对民俗学者而言,我们将我们的阐释立足于其上的模式(patterns)能够被证明是植根于“原始”叙事的,但我们的目的是指明某些特征,或在叙事和更大的文化形态之间建立关联,这有时与叙事者的意图可能并不一致。特别是对女性主义者来说,这种阐释权威的问题更为突出。女性主义学者必须注意由我们的框架产生的多元的、有时甚至是互相矛盾的意义,或用新的方法对口头叙事进行语境化。通过将田野对象视为我们研究成果重要的首位观众,它将重构传统意义上信息的单向流动,即从信息提供者到学者再到学术界,同时也将有助于更为慎重地去商讨研究中的阐释权威问题。
We can think of a personal narrative as a constructive activity of meaning at two levels at the same time. It constructs the relationship between the thinking subject and the narrated event (her own life experience), as well as the subject of mind and the narrative event (she “assumes the communicative ability of an audience Responsibility. ”For folklorists, the patterns we base our interpretations on can prove to be rooted in the“ original ”narrative, but our The purpose is to point out certain traits, or to establish a link between narrative and a larger cultural form, which at times may not correspond with the narrator’s intentions, especially for feminists Feminist scholars must pay attention to the multiple and sometimes conflicting meanings that our framework produces or to contextualize verbal narrative in new ways.With field objects as the first audience of great importance to our research, It will reconstruct a one-way flow of information in the traditional sense, from information providers to academics to academia, and at the same time will help to deliberate more deliberatively on the power of interpretation in the study question.