Analysis Of Narrative Perspective Of Modern Novels

Narrative began at the same time as human history,yet the systematic study of narrative only really took off in the 20 th century.Traditional fiction theory emphasized moral indoctrination,and the novel often served as the handmaiden of religion and theology,it was not until the founders of modern fiction theory,Flaubert and James,saw the novel as a self-contained artistic organism and turned their attention to fictional technique,especially the use of narrative point of view,that a theoretical ethos that relied too heavily on ideological functions began to change.Perspective has been a central issue in the study of fictional narrative for nearly a century,and while these studies are quite novel,they are deeply limited in their operation.Person as a discourse level cannot be used to distinguish perspective,but most traditional classifications of perspective have adopted the person-narrator criterion,which divides first-person narrative perspective,second-person narrative perspective,and third-person narrative perspective.This emphasis on person-perspective and the fetishization of the omniscience of the "omniscient" perspective are inherently flawed and ignore the techniques of fictional narrative perspective.Based on classical narratology,narrative rhetoric,post-classical narratology and deconstructionism,this paper discusses the narrative perspective of modern fiction in the context of Western classics,taking into account phenomenology,painting and photography.The first part defines the concept and theoretical foundation,and focuses on the research theories of narrative perspective at home and abroad.The first part defines the concept of modern fiction and clarifies traditional fiction and modern fiction from both the external and internal aspects,the former focusing on modern fiction genres and the latter discussing authorial intervention and the spatialization of narrative time;secondly,in addition to the concept of narrative perspective,it defines the narrative perspective of modern fiction in terms of the debate between perception and narrative,laying the foundation for the following.The second part classifies the types of narrative perspectives in modern fiction in terms of narrative distance.By grasping the relationship between perceiver and narrator while focusing on the relationship between focuser and focus object and the position of focuser relative to the story,the types of narrative perspectives in modern fiction are classified into three categories in terms of narrative distance: privileged perspective,dramatic narrative perspective,and character-narrative perspective.The privileged perspective serves as a supplement or update to the omniscient perspective.In modern fiction,there is no true omniscient narrative,and the privileged perspective outlaws the omniscient perspective.The privileged perspective is always external to the story atom in terms of narrative distance;it is an a priori perspective,and similarly,the dramatic narrative perspective is an external,a priori perspective.The dramatic narrative perspective comes from the camera discourse,which is distant from the objective but infinitely close to it,and therefore,the focus of this perspective is absent.The perspective that really enters the atom of the story is the character-narrative perspective,under which the phenomenon is present.From the idea of phenomenological writing,from James,Proust to Beckett,the development of this perspective technique is a process from the presence of perception,unconsciousness and existence to the dissolution of the presence of existence.Our writers have also begun to pay attention to the use of perspective in their study of modern Western fictional techniques and have intentionally used an unusual character-narrative perspective,in which the perspective of the dead is particularly prominent under the influence of traditional cultural gravity.The third part examines the transformation paths between perspectives in terms of narrative distance,change in field of view,and frequency of perspective shifts.This part includes multiple parallel perspective shifts,threshold perspective shifts,and shifts between other perspectives.Multiple parallel perspective shifts refer to shifts between character-narrative perspectives,threshold perspectives occur between privileged or dramatic narrative perspectives and character-narrative perspective shifts,and other shifts mainly refer to shifts between privileged and dramatic narrative perspectives.In addition,Tolstoy expands the range of meaning of narrative perspectives,and his use of privileged perspectives provides a perspective on the action.The fourth part explores the aesthetic rhetoric of narrative perspective in modern fiction from the viewpoints of narrative rhetoric,classic and post-classic fiction rhetoric represented by Chatman and Booth,among others.Primarily concerned with irony and the presence of reading,the rhetorical terms employed are both classical critical vocabulary and represent the plain reading sentiment from the reader’s perspective.The discussion of irony includes the ironic narrator and ironic identity,which represent the positions of the narrator and the reader,respectively,while the presence of reading involves not only the dialogue from the text,in which the narrator tirelessly gives multiple meanings to "you," but also the "In this "postmodern" writing style,the author seeks fictional certainty through metanarrative.