文本世界话语世界与第一人称短篇叙事的阐释空间

摘要

In face of many first-person short narratives , we as readers can construct at least three worlds:our zero reference point is first projected to the enactor-I world and then to the narrator-I world be-fore shifting back to the discourse world .The three worlds could be represented as a unified one without sig-nificant distances among them or as separate ones with one standing in ironical opposition to another .The close reading of three canonical short narratives (i.e.“Why, Honey?” by Raymond Carver,“Why I Live at the P.O.” by Eudora Welty and “A Cask of Amontillado” by Allan Poe) suggests that they all encourage the reader to project her zero reference point to the narrator-I world and explore its ironical relationships with the other two worlds , thus lending themselves much wider interpretive spaces , which might just as well be one of the many reasons why they have been received as canonical .%在很多第一人称短篇叙事中，读者至少可以建构三个世界：首先读者将零参照点投射到两个层次的文本世界，即作为行动者（ enactor ）的“我”的世界（ enactor-I world ）以及作为叙事者（ narrator ）的“我”的世界（narrator-I world），最后读者将零参照点转移回到“此时此地”的话语世界。这三个世界既可以被表征为统一体，也可以被表征为各自分离，从而形成丰富多彩的第一人称叙事。雷蒙·卡佛的《孩子，这是为什么？》、尤多拉·威尔蒂的《我为什么住邮局》及爱伦·坡的《一桶白葡萄酒》三个第一人称叙事文本都（或明或暗地）鼓励读者将零参照点投射到“叙事者－我”的世界，并识别该世界与“行动者－我”及话语世界之间的各种反讽距离，从而极大提升了这些短篇叙事的阐释空间，而这也从某种程度上解释了为什么这些作品成为经典短篇的原因之一。