1) narrating limit
叙述分寸
1.
The key to the use of those materials lies in the proper narrating limits.
深度报道离不开背景材料的运用,而运用的关键又在于叙述分寸的把握。
2) narration stratification
叙述分层
1.
In Heart of Darkness,the rich thematic meaning not only derives from the author s narration stratification to have a hollow intra-narrative and two narrators with different views,but also derives from the author s original way to deal with narrative time.
探讨该小说的复义结构,包括《黑暗的心脏》故事原型有多种故事类型的特点,作者的叙述分层构建了一个中空的叙述层并引入了两个观点不同的内外层叙述者,作者在构建文本时对叙述时间的创新处理,作者创造了看似自相矛盾却非常真实的人物。
2.
In Heart of Darkness, the polysemical themes first come from two contending narrators with a hollow intra-narrative resulting from the author’s narration stratification.
在《黑暗的心脏》中,作者采用了有多种类型特点的故事原型;通过叙述分层,作者构建了一个中空的核心叙述层并引入了观点不同的外层叙述者;在构建文本时,作者对叙述时间作了创新处理;作者创造性地塑造了人物,让其看似自相矛盾而却非常真实。
3) multi-leveled narration
分层叙述
1.
So in the drama firstly does appear such narrative approach as multi-leveled narration,narration of same people in different chapters and narration by the person not only as participant but also as a narrator.
早期的戏曲如元杂剧,吸收了小说的叙事方式,将小说的一人(说书人)叙事,变为戏曲的多人(多个角色)叙事,于是,必须由多个不同叙述者才能构成的分层叙述、跨层人物叙述以及复合叙述者叙述等叙述手法,首先在戏曲中出现了。
4) Divide-narrating
分裂叙述
5) narrator-analyst
叙述-分析者
补充资料：分寸
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参考词条