當《項迪傳》的敘述者聲稱：「寫作，如果適當操作，（你可以相信我寫的就是）就會形同交談一般」時，老實的讀者通常就自然認份地扮演起交談的對象。事實上，敘述者的神秘魅力就巧妙包裝在諸多話語的標記文字（discourse marker）以及各種造句技巧裏，透過適當的插入與運用話語的標記文字以及標點符號等特殊運用，敘述者就可以營造出說話的情境與氣氛。在敘述者的策略運用下，話語的標記文字以及其他句法的經營往往可以成功營造出不同的交談方式來。其實，當敘述者撩撥讀者的興趣與好奇時，他就是在耍弄並消費讀者的情緒，並透過假性默契之下耍弄與消費情緒的遊戲構築出一種友善的人情氛圍，讓人際間的假性交往進行下去，以提昇閱讀的情趣。知名學者伊果頓（Terry Eagleton）在審讀過很多批評家的看法後，也認定《項迪傳》的敘述者對讀者是友善的。本論文因此嘗試跨越文學與語言學的藩籬，透過挑選重要的小說文字片段，從話語的標記文字及標點符號等各式敘述技巧切入去分析文字肌理的構成，如此可同時嘉惠文學與語言學的研究者，揭露文學作品中深層的語言營造與再現的獨特手法。
When the narrator in ”Tristram Shandy” claims ”writing, when properly managed, (as you may be sure I think mine is) is but a different name for conversation” (2:11) honest readers most naturally take on the role of the ”addressee.” The secret of the narrator's magical charm is delicately wrapped in various markers, which connect utterances in such a way as to presume the form and content of a conversational discourse. Under the narrator's strategic management, discourse markers successfully work out situations for him to negotiate sequences of different positions. Practically, the narrator is an opportunist when he stimulates the readers' responsive sentiment, which is willfully created and reverted for the narrator to consume. This play of consuming/consumed sentiment thus plays the role of feigning a friendly social milieu for pseudo-interactions to go on and enhance the pleasure of the readers. As Terry Eagleton assumes: ”The narrator of ”Tristram Shandy” is ostentatiously reader-friendly. His tone is genial, wryly amused, gently satirical” (89) this paper tries to genially reveal the ”reader-friendly” tricks of linguistic constructions in ”Tristram Shandy”, for readers of both linguistic and literary competency to cultivate a keener observation of textual strategies by way of thorough discourse analyses.
關聯:
Hwa Kang English Journal ； 18 卷 2 期 (2012 / 12 / 01) ， P1 - 18
