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tless time ", the pigeons wing ", "golden bowl" in design and a group of "the lamp", and the practice of the theoretical summary: my each light "the lamp" will be the one in history a "social occasions" shine, and will be associated with character communication, and will make are considering the scene of potential colour play-and to make it to my theme interpretation incisively and vividly. He for the concept and excitement, because it is "really completely a scene". (3) and "the lamp" associated is another skills--carry line character. It derives from French, meaning the rope of control dolls. When the centre of consciousness of limited point of view can't provide enough information and at the same time the author and want to remain objective, James creative use of the special characters to replace the author of the retreat to provide essential information. In James novel, they often are female, is the centre of consciousness of "friends", they were only slightly involved in action. These people are messenger, is the guide and the centre of consciousness to always think of your ideas to tell them, and they provide all kinds of information through. Sometimes they play the role of the guide, sometimes is a the ideas. The pigeons wing of the handsome, Susan, ham and the gold bowls of the Fanny • E xing ham are all too rap. On the other hand ", ambassador of the Mary • GuoSi tradex because been skillfully woven into the novel of action ShaoShengYiChou novel, that want to take her out of the novel is not possible outside. In "ambassador" in the preface, Mary, GuoSi tradex is described as "is not the most relaxed and be abandoned completely carry line of characters".
从此詹姆斯推断出小说也是一样:假如单一视角不能传达足够的信息,双重甚至多重视角将能做到。这一发现使詹姆斯非常激动,出于激情,他接连在《躁动年华》、《鸽翼》、《金碗》中设计了一组“油灯”,并且对这些实践作了理论性的概括:我的每一盏“油灯”都将在历史的某一个“社会场合”发光,都会与相关的人物交际,都将使正在考虑的场景的潜在色彩发挥到极至,使它对我的主题阐释得淋漓尽致。他为这个概念而兴奋,因为它是“真正完完全全的一个场景”。③与“油灯”相关联的是另一技巧———提线人物。此词源于法语,意为控制玩偶之绳。当意识中心的有限视角不能提供足够的信息而与此同时作者又想保持客观时,詹姆斯创造性地使用这种特别人物来代替隐退的作者提供必须的信息。在詹姆斯的小说中,她们往往是女性,是意识中心的“知己”,她们只是略微卷入行动。这些人是信使,是解说员,意识中心总是把自己的想法告诉她们,并通过她们提供各种信息。有时她们扮演向导的角色,有时则是一个出谋划策者。《鸽翼》中的苏珊•斯俊汉姆和《金碗》中的范妮•娥兴汉姆都太饶舌。另一方面《, 大使》中的马丽亚•郭斯特瑞因为被巧妙地编织入小说的行动之中而使小说稍胜一筹,以至于想要把她排除在小说之外是不可能的。在《大使》序言中,马丽亚•郭斯特瑞被描述为“最不轻松而又被彻底抛弃的提线人物”。①
剥夺了自己作为第一人称叙述者的“浪漫特权”之后, ②詹姆斯给自己安排了一个知己来使故事进行下去“, 以至于像郭斯特瑞小姐这样的代理人,事先高薪聘请,却让她在透风的厢房中等待,身上披着围巾,散发出诱人的趣味”。③马丽亚•郭斯特瑞对自己的作用作了描述:“你知道吗? 我是一名‘欧洲’普通导游,我等待着游客———我把他们送过去我背上背着沉重的民族意识。”把欧洲放在引号中,詹姆斯做了一个有意义的区分———那就是美国人对那个世界的先入之见而不是那个世界本身。她把自己当作一种高级宫廷女仆,成为兰伯特•斯特色尔最完美的知己人选———把他从过去的束缚中解脱出来,开始去欧洲的经历,后来又成为他“使命”中出现难题时的商讨者。与视角相关的另一个概念是媒介———不少西方学者认为这是詹姆斯对小说理论的又一重大贡献。在不同的情形下,詹姆斯对它的称谓不同,譬如“反映者”、“纪录员”、“见证人”、“报告人”和“意识容器”。所有这些称谓都指一种人物类型:他们的存在只是提供一双本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。