张爱玲小说中的叙述角度混淆

张爱玲一生都使用主人公视野局限的第三人称，不过这种叙事方法在不同时期有不同变化。早期小说的主人公视野是与说书人和全知描写一起使用的，某些场景既似主人公视觉又含有叙事人目光，这种叙事角度的有意混淆，是张爱玲小说的重要技术特点。在中期作品《秧歌》中，作家其实仍然坚持人物视角局限的第三人称叙事，不同之处是这种人物视角不只是一、两个男女主人公，而且处在社会矛盾中的各种人物，于是多角度的主观合成貌似写实的效果。而在晚期的代表作《小团圆》中，作家放弃了别的任何叙事角度，从头到尾由女主角观点“独裁专制”。小说中仍有叙事角度的转换甚至“混淆”，由主人公的不同时间视角而构成。<eng>Throughout her life, Eileen Chang has used third person narrative that limited the viewpoint of the protagonists; however, this narrative method underwent different changes during different stages of Chang’s life. In her early works, the perspective of the protagonist was depicted by the omniscient narrator and some settings were described through the perspective of the protagonist as well as the narrator. This type of intentional confusion created by the narrative method was an important technical feature in Eileen Chang’s novels. In The Rice Sprout Song Chang still remained insistent on using third person narrative that limits the character’s viewpoint. What was different, however, was the inclusion of multiple subjective perspectives from various characters that live in social conflicts as opposed to having one or two male and female protagonists, which in combination created a seemingly realistic effect. As for the representative novel of her later period works, Xiao Tuan Yuen, Chang abandoned other narrative viewpoints and used the perspective of the female protagonist to view “dictatorship” from start to finish. In the novel, there were still some changes or even “confusion” in the narrative viewpoint, which was formed by the protagonist’s perspective at different points in time.