| 000 | 00000nab a2200000 a 4500 |
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| 001 | 41053 |
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| 002 | 2 |
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| 004 | 51616 |
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| 005 | 202503271314 |
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| 008 | 160912s | a 000 0 chi d |
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| 009 | 1 0 |
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| 035 | [ ] |a 1456378181 |
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| 039 | [ ] |a 20250327131638 |b namth |c 20241129102056 |d idtocn |y 20160912152249 |z khiembt |
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| 041 | [ 0] |a chi |
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| 100 | [ 0] |a Zhao, Yiheng. |
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| 245 | [1 0] |a Plot and Anti-Plot, Narration and Disnarration / |c Zhao Yiheng |
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| 300 | [ ] |a p97-p102 |
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| 362 | [ 0] |a Vol 53 (November 2014) |
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| 520 | [ ] |a The problem of plot occupies the central position in narratology. Once all genres of narratives are considered, the issue of plot becomes extremely complicated. The three related terms of event, plot and story should be strictly separated. The basic definition of narrative is a text that involves a plot, but in disnarration, .the plot is “deleted” by the text, and the deletion form an essential part of the plot* Plot is based on events, but not all events contain the same narrativity. The criterion is so complex that it involves all the cultural values of the society that support the narrative text |
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| 520 | [ ] |a 叙述的基本定义,就是包含有情节的符号文本.情节问题,是叙述学的核心问题,一旦考虑文化中所有的叙述,情节的构成就变得非常复杂.首先,事件、情节、故事这三个通常混用的极常用术语,应当严格区分:事件是自然状态的变化,尚未被叙述,因此缺乏因果联系.情节虽然来自事件,但事件本身的可叙述性非常不同,只有情节才赋予叙述文本中的事件必要的因果关系.而故事则是具有明确起承转合要求的“结构化的”、从而也是“伦理化的”叙述.要理解情节的复杂性,往往应当从否定的方向出发.“反情节”,是叙述出来但因为各种原因“没有发生过”的情节,似乎应当从叙述中删去这些“反情节”,实际上它们是情节中重要的部分.而所有的叙述文本,都以巨大数量的“未叙述”事件为背景,这是理解任何叙述不得不考虑的重要因素.从“未叙述”中可以看到,任何叙述文本,都靠整套复杂的社会文化价值作为选择情节的准则,才得以成立 |
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| 650 | [1 7] |a Khoa học xã hội & nhân văn |2 TVĐHHN. |
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| 653 | [ ] |a factuality. |
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| 653 | [ ] |a fictionality. |
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| 653 | [ ] |a narratability. |
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| 653 | [ ] |a plot. |
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| 653 | [ ] |a 事件. |
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| 653 | [ ] |a 可述性. |
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| 653 | [ ] |a 纪实. |
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| 653 | [ ] |a 虚构. |
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| 653 | [ 0] |a 情节. |
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| 653 | [0 ] |a event. |
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| 773 | [ 0] |t Journal of Huazhong Normal University(Humanities and Social Sciences) |g 2014, Vol 53, N.6 |
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| 890 | [ ] |a 0 |b 0 |c 0 |d 0 |
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