《故事形态学》读书笔记Word文件下载.docx

1、 故事形态学读书笔记 The magic tale formula of the wolf - story morphology reading notes Text / Zhang three or four I. brief introduction The famous Russian folk art expert Vladimir Propps story? Ya? morphology （1928） is a milestone in the field of the type of narrative works. His ideas and theories had a dir

2、ect and far-reaching influence on the later structuralist scholars, such as Grey Maas, Todorov, Bremond and others. The original intention of the story morphology is to investigate the form and determine the regularity of its structure in the field of folk tales. According to the story of Afanasyev

3、by the 100 Russian magical story form of comparative analysis, found from the structure factors of the magic of the story, namely the 31 function, and the relationship between the function of the combination of law, they and their relationship with the overall. Jia put translation of Chinese publish

4、ing house in 2006 version of the story is the magic morphological income story derived magical story structure research and historical research in the spring of 1965 to commemorate the speech three articles. The evolution of magical stories prompts Propps next research work: from the structural stud

5、y of magical stories to historical studies. The result is a book on the historical roots of magic tales. The study on the structure of history and magic of the story is responded to Strausss criticism of Levi?. This article can be read directly on the strong dissatisfaction of being misunderstood. T

6、wo, Propps magical story formula In the preface, Propp pointed out that the morphology is on the form of the doctrine, in Botany, morphology refers to all about plant parts, concerning the relationship between these components and the theory of the relationship between them and the overall. He belie

7、ves that the term story morphology can be created by drawing on the research methods of botany. Plant morphology will classify thousands of plants in the world, and story morphology will do the same: classify colorful stories and present them with wonderful consistency. In the first chapter problem

8、in history, Propp said: the correct classification is one of the first scientific description. The correctness of the next study depends on the correctness of the classification. However, the existing classification of stories often undermines the simplest rules of classification. For example, the s

9、tory is divided into magical content stories, daily life stories, animal stories. But there are fantastic stories and animal stories. Another example wendte division, the story is divided into seven categories: myth fable, pure magic story, life stories and fables, pure animal fables, origin stories

10、, funny stories and fables, moral fable. In addition, there are ways to plot according to the plot. For example, Volkov put fantasy story into 15 episodes. Propp analyzed the 15 plots, saying that it could not be regarded as a scientific classification in the exact sense. The story classification is

11、 not satisfactory because of the problems of previous research methods. The research methods are stated in the second chapter loplop materials and methods. First， Suppose there is a special sub class story, that is, the magic story. The research object is locked in a magical story on propp. What exa

12、ctly is a magic tale? It is defined at the end of this book. Secondly, Propp narrows down the research scope to the stories of Afanasyev in the 100 Russian fairy tales. The exact way to describe the story, Propp says, is to see the constant and variable factors. In these 100 magical stories, the nam

13、es of the characters and their objects are changed, and their actions and functions are unchanged. The story often assigns the same action to different characters, which makes it possible for us to study the story according to the function of the characters. Heres the question, what is the function?

14、. Propp defined said function refers to the role behavior definition from its course of action for sense. He gives four observations: first, the function of the characters serves as a stabilizing factor for the story; they do not depend on who will do it and how it will be done. They form the basic

15、elements of the story. Two, the magical stories are known to be limited in terms of function. Three, the order of function items is always the same. Four all magical stories are made up of the same type. In the third chapter, according to the description of the story itself proppo magical order list

16、s the 31 functions of the role of the 31 functions is so important, we often see in various citations, so it is necessary to refer to below: 1. a family member leaves home （out） 2. a prohibition （Prohibition） against the protagonist 3. break the ban 4. enemies tried to spy on the news 5. enemies inf

17、ormed of their victims 6. enemies try to deceive their victims to control his or his property 7. the victim was duped and unwittingly helped the enemy 8. enemies bring harm or damage to a member of the family One of the 8a. family members is missing something. He wants something （missing） 9. a disas

18、ter or defect is told to request or issue an order to the hero, send him or allow him to proceed （mediation） 10. the seeker agrees or decides to revolt （the original revolt） 11. the protagonist leaves home （departure） 12. the hero has been tested, subjected to interrogation, attacked, and so on, to

19、pave the way for him to gain magic or help （the first function of the giver） 13. the protagonist responds to the actions of the giver in the future （the protagonists response） 14. treasures fall into the masters possession （the provision and acquisition of treasure） 15. the transfer of a hero, where

20、 he is sent or directed to the place of his search （moving between the two countries, leading the way） 16., the hero and head confrontation （confrontation） 17. mark the hero （print） The 18. enemy is defeated （defeated） 19. the initial disaster or deletion is eliminated （a disaster or deletion is eli

21、minated） 20. return of the hero （return） 21. the hero is hunted （pursued） Twenty-two The hero was rescued from the chase 23. the protagonist returns home at an otherwise unknown position or arrives in another country （unaware of arrival） 24. fake hero put demands （demands） 25. to master gongchu prob

22、lem （problem） 26. the puzzle is answered 27. the hero is recognized （recognized） 28. expose or expose a false hero or foe 29., the hero changed his face 30. the enemy is punished （punished） 31., the hero married and crowned king （wedding） In the fifth chapter, Propp analyzes several other parts of t

23、he story, namely, auxiliary elements （connecting elements） used in the relations between functional items and auxiliary elements accompanied by three elements. The linking component makes the story move from one function to the next. It is a set of information transfer systems. Three repetition is a

24、 repetitive or progressive component of a story. Reason is the cause of such or such behavior. For the protagonist, the cause of his behavior is often threatened or missing. In the sixth chapter, according to the role will be divided into functional prop head action ring, ring, help the donor action

25、 action ring, Princess （to find characters） and fathers action ring, the dispatch of the action hero action ring, ring, fake hero action circle. In the ninth chapter, to the amazing stories Propp made a definition: from the perspective of morphology, any one in tort or deletion, after the middle of

26、some function after at the end of the wedding or other end function items, can be called a magical story. Another important concept in this chapter is the turn, and Propp does not give it a definite definition, but it can be summed up in the text: a round is two pairs of function items. Typical roun

27、ds, such as: 21. the hero is hunted （pursued） 22. the hero was rescued from the chase （rescued） As well as: 25. to master gongchu problem （problem） 26. the puzzle is answered Propp gave them a Russian alphabet, each listing the 31 items of the magic story. In the ninth chapter, he arranged the lette

28、rs into a horizontal axis in accordance with the narrative of the story. Defined in terms of Saussures structuralist linguistics, this horizontal axis can be viewed as a combination of successful energy terms. Each letter on the cross axis can be replaced by a finite number, and the functional item

29、used for replacement can form an aggregation relationship. In this way, the 100 Russian magic stories in the Afanasyev tales are abstracted into a magic story formula. Three, the misunderstanding of Propp The research object of Propp lock in the Afanasyev tales in 100 Russian magical story, but peop

30、le seem to ignore this point naturally or half unconsciously, Levi? Strauss said that Propps conclusion is not suitable for literary creation. Propp very bluntly said: Professor Strauss Levi quoted me as saying?, My conclusion is not applicable or hunaud Wallis Goethes story and generally does not a

31、pply to the writers art story, he cited these words against me, I think that in this case the conclusion is wrong. But there is nothing wrong with these conclusions; they simply do not have the kind of overarching significance that my respected critics want to give them. （the story morphology P182）

32、are the 31 function students mechanically, for the analysis of Hollywood movies, it is very far fetched. Some readers even think that reading this book can be used directly formula to guide creation, it is more funny. Study on the Propp important than his conclusions, but his method. Its a widely us

33、ed method of analyzing thousands of stories, and perhaps hundreds of formulas. We can feel that most Hollywood movies come from the same pattern, in this way, to find the Hollywood formula hidden behind these movie stories. So, does this mean that the story will lose its meaning? In this regard, Propp in the magic tale of historical roots, said: the story