小说构成要素(共11页).doc
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1、精选优质文档-倾情为你奉上小说构成要素 March,2007A Structured Approach to the Short StoryThe term structure as applied to a short story, or to any form of literary art, is a metaphorical expression referring to the architectural-like pattern of the work. Much like a building, a short story is an orderly arrangement of
2、 individual parts put together to form a cohesive whole. In a building, the constituent elements are physical and exist in space; in a short story, the elements are intangibles, but they too are arranged in accordance with a carefully conceived plan. Instead of existing in space, these elements exis
3、t as ideas in the mind of the writer that are transferred to the mind of the reader through the medium of the printed page. The structure is then re-created in the readers mind as the story is read. Behind this concept of structure lies the assumption that the author has an awareness and understandi
4、ng of the need for the structure in the work and that, in writing the story, has made deliberate choices in the selection of details and has carefully arranged these details into a meaningful, aesthetic pattern. A further assumption is that full of appreciation of a story by the reader demands some
5、awareness and understanding of its structure.In its broadest sense, structure includes all the elements in a story: plot, character and characterization, point of view, language, which can be realistic, symbolic or allegory, and theme. In studying literature from a structural point of view, one may
6、deal with these elements separately, at first; however, the ultimate objective is to see the work as a whole and to become aware of how the parts are integrated to produce a composite effect.Elements of PlotSimply stated, plot is the arrangement of the events in a story into a causal sequences. Alth
7、ough the short story is one of the most flexible vehicles for the diverse elements of a plot, this flexibility and variety does not reduce the value of a systematic and even orthodox approach to plot construction. Among the formal elements of plot are: exposition, background; conflict, the oppositio
8、n of forces, internal or external; complication, the development of predictable or unforeseen contingencies in the action; foreshadowing, a hint of what is to come; reversal, a change in fortune experienced by the protagonist; denouement, the final outcome of the sequence of events; and insight, rec
9、ognition by the protagonist of his or her nature or fate. Character and CharacterizationCharacter and characterization are closely related but essentially different concepts. Character refers to one of the persons in the story-the end result of the authors effort to create a fictional personality. C
10、haracterization, on the other hand, refers to the means by which the writer creates the sum of traits, thoughts, and actions which, taken together, constitute a character.At the simplest level, literary characters may belong to a number of stock types. . With creative imagination, however, a writer
11、may start out with commonplace characters and develop them into universal figures, far beyond the original cardboard dimensions of the stereotypes to which they are related. Don Quixote, Hamlet, or Huck Fin, to name a few, escape the confines of their types-the impractical do-gooder, the slow-to-act
12、 intellectual, and the boy who rebels against the mores of his society-and transcend their literary confines to become symbols of human aspirations.Another concept relating to character is that of flatness, or its opposite, roundedness. If the story is a short one, the author may create only flat ch
13、aracters, that is, characters whose essence may be summed up in a phrase. If the story requires it, as is usually the case, a writer may create a rounded character, that is, a character who is so complex as to require extended analysis. Both types of characters may appear in the same story, dependin
14、g on their importance and the length of the story.Literary characters have also been described as being static or developing, depending upon whether they remain the same from the beginning to the end of the story or whether they undergo some significant, internal change in the course of the events.
15、The concept of developing suggests that the character achieves a different view of life as a result of some insight gained from conflict and is no longer quite the same person as before. The concept of static suggests the opposite.Point of ViewThe concept of point of view introduced in the discussio
16、n on character and characterization requires a more detailed explanation because of its importance to the structure of a story. There are several questions about the way a story can be told that will help lead us to an understanding of exactly what point of view is, what varieties there are, and how
17、 different purposes are served by these different varieties. Chief among these questions are the following: through whose eyes and ears do we know what is going on? How much does this observer-spokesperson, or narrator, know about the people and events in the story? Does he or she know all there is
18、to know about everyone and everything or is the knowledge possessed less than total? Does the spokesperson see into the minds of all the major characters or into the mind of just one? For ease of naming and for the subsequent identification, we may ask: in what person is the story being told-first o
19、r third? We also need to consider the degree of participation that the authors spokespersonobserver has in the action of the story. For example, is this spokesperson an agent in the events merely an observer at the periphery of the action, or an outsider reporting second-hand information? Finally we
20、 might inquire: how does the point of view chosen serve the authors purposes and how is it better suited to the needs of the story than other options might have been when one considers the overall effect the author is attempting to produce? In asking all of these questions, and particularly the last
21、 one, one should keep in mind that the point of view selected by the author should unify and give a sense of direction to the story. At the same time, it should also blend smoothly with all the elements of the story.For the purpose of convenient reference, several different points of view have been
22、traditionally distinguished and named. One of the earliest employed and most familiar is the first-person point of view, in which the narrator may be a major character, a minor character, or a bystander. The narrator may give a first-hand account, or one mixed with conjecture and hearsay. The narrat
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