摘 要

《礁湖》是约瑟夫·康拉德的一篇短篇小说，讲述了主角阿萨特向前来拜访的白人老爷回忆自己曾经如何与哥哥一起救出心爱之人，最终出于爱情和求生本能又是背叛兄长任由其死去，并因此永远背负内心罪恶感和灵魂拷问的故事，凸显了作家对于人性黑暗本质深刻的探索。在写作时，康拉德打破了传统现实主义小说惯用的时空构架和单一固定的叙述角度，叙述中还有叙述，使故事得以在多个层面展开。本文将运用约瑟夫·弗兰克的空间理论，对短篇小说《礁湖》进行分析。通过探讨康拉德对“时间的凝固”和并置等技巧的运用，同时创造性地将“陌生化”手法视为“空间化”小说的重要工具，具体分析了康拉德是如何利用这些技巧打破传统的作品中的时空构造，将小说“空间化”的。在此基础上本文还分析了读者阅读小说时的感受以及为最大化审美享受应采用的阅读方式。

关键词：约瑟夫·康拉德；《礁湖》；约瑟夫·弗兰克；空间理论；陌生化

Abstract

In “The Lagoon,” a short story written by Joseph Conrad, the protagonist Arsat tells “the white man” how he escaped from the Rajah’s territory with his brother and beloved and how he eventually chose to betray his brother for love, leaving him die alone for them. Such betrayal brings Arsat permanent torture of soul and endless sense of guilt. Conrad not only explores the darkness of human nature at a higher level in this story, but also breaks the traditional idiomatic structure of time and space and the single fixed narrative point of view in former traditional realistic novels, using different narrative views. In the light of Joseph Frank’s spatial theory, this thesis intends to analyze why and how Conrad uses devices such as “time-freezing” and juxtaposition to break the time sequence and spatialize the fictional structure. Except for that, this thesis will introduce defamiliarization as an important technique to strengthen the effects of the spatial devices mentioned above. By doing so, the reader’s perception of the story can be deduced and instructed, achieving a higher level of aesthetic enjoyment during the reading process.

Key Words: Joseph Conrad, “The Lagoon,” Joseph Frank, Spatial Theory, Defamiliarization

Contents

1. Introduction ..............................................................................................................1
2. Demonstration ..........................................................................................................2
   1. Time and Spatiality ..............................................................................................2

2.1.1 Spatialized Time ........................................................................................3

2.1.2 Time-Freezing ............................................................................................5

• 1. Juxtaposition and Spatiality.................................................................................6

2.2.1 Juxtaposition as Means of Breaking Traditional Sequence........................6

2.2.2 Juxtaposition as Means of Spatializing Fictional Structure.......................7

• 1. Aesthetic Significances of Spatiality....................................................................8

2.3.1 Defamiliarization and Spatiality.................................................................9

2.3.2 Reader’s Perception of Spatiality..............................................................10