摘要

20世纪初，什克洛夫斯基提出了“陌生化”的概念。1939年，德国戏剧美学家布莱希特又从戏剧理解的角度阐释了“陌生化”，他强调应该对人们习以为常、司空见惯的对象进行加工处理，产生一种陌生的、奇特的观感，从而达到颠覆人们固有认知、感觉、经验的目的。布莱希特将陌生化视为一种促使受众反思的社会工具。借用布莱希特“陌生化”的理论，能更为深入地阐释弗吉尼亚·伍尔夫在其绝唱《幕间》中，是如何通过运用文本的复调叙事、“非悦耳”的音乐线索、碎片化语言、诗化的语言、狂欢化的情节等写作技巧，在叙事技巧、语言层面、情节设置等三个方面达到陌生化效果，给读者带来强烈奇特的感官冲击，并完成文学介入社会现实的功能，表达作者的道德诉求、内心感受和劝诫世俗的教化意图。

关键词：陌生化  伍尔夫  《幕间》  意识流      

Contents

Abstract I

摘  要 II

Chapter One  Introduction 1

1.1  Research Background 1

1.1.1 A Brief Introduction to Virginia Woolf 1

1.1.2 A Brief Introduction to Between the Acts 3

1.2  Research Significance 3

1.3  Layout of the Thesis 4

Chapter Two  Literature Review 6

Chapter Three  The Production and Development of Defamiliarization 11

3.1  Viktor Shklovsky and His Defamiliarization 11

3.2  Brecht’s Defamiliarization 12

3.3  Summary 13

Chapter Four  Three Defamiliarized Points of View and Emotions

Contained in Between the Acts 14

4.1  Defamiliarization in Narrative Techniques 14

4.1.1 Polyphony of Narration 14

4.1.2 Non-pleasing Musical Cues 16

4.2  Defamiliarization at Linguistic Level 18

4.2.1 Fragmented Language 19

4.2.2 Poetic Language 21

4.3  Defamiliarization in Plot Device 23

4.3.1 Disruptive Historical Pageant 24

4.3.2 Defamiliarized Nature Elements 25

4.3.3 Carnivalized Plots 27

Chapter Five  Conclusion 29

5.1 Summary of the Thesis 29

5.2 Limitations And Suggestions for Future Study 30

Bibliography 31

Acknowledgements 32