On the Origin of the Epic Preterit

IF 0.6 0 LITERARY THEORY & CRITICISM
Katja Mellmann
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引用次数: 1

Abstract

Abstract The use of past tense in narrative discourse at first glance seems to imply that the narrated events are lying in the past as compared to the act of narration. However, this intuitive notion was doubted by several scholars in the mid 20th century, among them Käte Hamburger, Harald Weinrich, Émile Benveniste, and Ann Banfield. This article investigates the temporal constitution of literary narratives from a perspective of the biological evolution of Human cognition. My analysis begins with Hamburger’s most disputed claim that in epic fiction the past tense »loses its grammatical function of designating what is past« and proceeds by testing a derived hypothesis against a cross-cultural sample of (mostly oral) folklore. Hamburger denied any temporal relation between the speaker and that which he speaks of, assuming instead a fictitious neverland in which the narrated events are situated and to which the preterit refers. If Hamburger’s model is correct, so the derived hypothesis goes, then the use of past tense in fictional narratives is merely a cultural convention, and different narrative traditions should expose different conventions. Indeed it can be shown that in other cultures stories are told in the present tense, in infinitive verb forms, or in forms indicating abstractness or remoteness. It can be followed that Hamburger was right at least in presuming that reference to the past is not a necessary constituent of verbal storytelling. Actually, instead of referring to the past, the epic preterit rather seems to indicate a change in the modality of speaking, thus adhering to the category of grammatical mood rather than tense. In some languages of oral cultures, however, this presumed mood shows up instead as a way of indicating the source of information. This kind of source information – fully grammaticalized in a quarter of the world’s languages – is called ›evidentiality‹ by linguists. In a phylogenetic perspective on the evolution of cognition, source information only becomes necessary with extended inferential and communicative capabilities and may thus have emerged as a cognitive tool in early humans when entering the ›cognitive niche‹. Evidentiality markers in language may thus be the linguistic reflex of a very ancient cognitive scope category in the innate architecture of the human mind, one which served to separate first-hand experience from reported knowledge. In oral storytelling, evidentiality is marked not only by specific verb forms but also by specific formulas (›they say‹/›it is said‹), intonations, or rhetorical devices. From this perspective, the phenomenon observed by Hamburger and others can be said to originate in the beginning of Tradition – that is, of verbal transmission of cultural knowledge. My hypothesis is that literary narratives in literate cultures still use this ancient cognitive scope operator of ›tradition‹ when employing the epic preterit. Admittedly, in literate cultures it often suffices to put »A novel by« on the title page in order to signal the categorical otherness of narrative fiction. Yet still, authors employ additional means to evoke the atmosphere of a ›murmuring conjuring‹ – as Thomas Mann once called it – that creates the impression of an objective world of tradition behind the individual story told. I point toward examples in literary first-person narratives, because homodiegetic narration – in contrast to Hamburger’s classical case of heterodiegetic narration – shows a continuous spatio-temporal relation between speaker and that which he speaks of and thus requires additional means or efforts to signal a break between the ordinary world of first-hand experience and the world of the literary. Since Hamburger once treated the epic preterit as a signal of fictionality, I briefly discuss the notion of fiction in the last paragraphs of my paper. I consider ›fictionality‹ to be a late cultural concept in literate societies that is not identical with the cognitive category of ›tradition‹ but is ultimately made possible by the existence of the latter.
论史诗的起源
摘要叙事性话语中过去时的使用乍一看似乎暗示着所叙述的事件与叙述行为相比是在过去。然而,这种直观的观念在20世纪中期受到了一些学者的质疑,其中包括Käte Hamburger, Harald Weinrich, Émile Benveniste和Ann Banfield。本文从人类认知的生物进化角度考察文学叙事的时间构成。我的分析从汉堡最有争议的主张开始,即在史诗小说中,过去时“失去了表示过去的语法功能”,然后通过对跨文化(主要是口头)民间传说样本的检验来验证一个衍生的假设。汉堡包否认说话者和他所说的事物之间有任何时间上的关系,而是假设一个虚构的梦幻岛,叙述的事件发生在那里,而偏爱者所指的是这个梦幻岛。如果Hamburger的模型是正确的,那么由此衍生出的假设就是,在小说叙事中使用过去时仅仅是一种文化惯例,不同的叙事传统应该暴露出不同的惯例。事实上,在其他文化中,故事是用现在时、动词不定式或表示抽象或遥远的形式讲述的。可以这样说,至少在假定对过去的提及不是口头讲故事的必要组成部分这一点上,Hamburger是正确的。实际上,史诗的先行词并不是指过去,而是指说话语气的变化,因此属于语法语气的范畴,而不是时态的范畴。然而,在一些口头文化的语言中,这种假定的情绪反而作为一种表明信息来源的方式出现。这种来源信息——被世界上四分之一的语言完全语法化——被语言学家称为“证据性”。从认知进化的系统发育角度来看,源信息只有在扩展推理和交流能力时才成为必要,因此可能在早期人类进入“认知生态位”时作为一种认知工具出现。因此,语言中的证据性标记可能是人类思维固有架构中一个非常古老的认知范围类别的语言反射,它有助于将第一手经验与报告的知识分开。在口述故事中,证据性不仅通过特定的动词形式,而且通过特定的公式(他们说/据说)、语调或修辞手段来标记。从这个角度来看,汉堡包和其他人观察到的现象可以说起源于传统的开始-即文化知识的口头传播。我的假设是,文学文化中的文学叙事在使用史诗偏好时仍然使用“传统”这个古老的认知范围算子。诚然,在文学文化中,为了表明叙事性小说的绝对差异性,在标题页上写上“作者”往往就足够了。然而,作者仍然采用了额外的手段来唤起一种“喃喃低语”的气氛——正如托马斯·曼(Thomas Mann)曾经所说的那样——这种气氛创造了一种印象,即在所讲述的个人故事背后有一个客观的传统世界。我以文学第一人称叙事为例,因为同叙事叙事——与汉堡的异叙事叙事的经典案例相反——显示了说话者和他所说的对象之间的连续时空关系,因此需要额外的手段或努力来表明第一手经验的普通世界和文学世界之间的断裂。由于Hamburger曾经将史诗般的偏好视为虚构的信号,所以我在论文的最后几段简要地讨论了虚构的概念。我认为“虚构性”是文学社会中较晚的文化概念,它与“传统”的认知范畴并不相同,但最终由于后者的存在而成为可能。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Journal of Literary Theory
Journal of Literary Theory LITERARY THEORY & CRITICISM-
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