全知视角

第二章探讨了波特小说集中主要采用的有限全知视角、第一人称视角和第三人称有限视角这三种叙述视角。

Chapter Two discusses the three narrative perspectives employed in Porter 's stories , which are the limited omniscient perspective , the first-person perspective and the limited third-person perspective .

唐传奇作品中最为吸引人的并不是全知视角的运用，而是限知视角以及两种视角的交叉与转换。

Works in the legend of Tang Dynasty attracted audience , which used not omniscient point of view but finite point of view and intersected and transited both them .

其次，中国传统的叙事艺术（全知视角以及说话艺术的标志性话语）为空间叙事提供了可能性。

Secondly , Chinese traditional narrative arts offer the possibility of spatial narration .

首先是废名小说中全知视角、限制视角与纯客观视角的运用。

First part is about the use of the omniscient view , limited view and pure objective view in these novels .

第二，他的叙事视角开始从全知视角向有限视角转换，由此形成的平行描写，开后世之先河。

Secondly , he turned from the omniscient angle of narrative to the limited angle , becoming forerunner of parallel description .

斯坦贝克在小说《愤怒的葡萄》叙述中采用了三种视角：编辑性全知视角，戏剧化视角和摄像机视角。

In The Grapes of Wrath , the author adopts three of them & editorial omniscience , dramatic mode and camera mode .

在本章里对全知视角的主导地位的原因作了简要的分析，并且把全知视角的分类进一步细化，企图更进一步了解新闻作品中全知视角的演变。

In this chapter of the dominant position of omniscient point of view a brief analysis of the causes and the classification of the omniscient point of view to further refinement , an attempt to further understand the news reports the evolution of the omniscient point of view .

从全知叙事视角、限知叙事视角和转换叙事视角等三个维度，探讨元代散曲套数的叙事视角。

Study the narrative perspectives from the three dimensions : omniscient perspective , limited perspective and perspective-shift .

此外，小说的叙事多采用全知叙事视角和限知叙事视角，在这二者之间互相切换。

Still , the novels use knowledge narrative perspective and limited omniscient narrative perspective , and switch to each other .

她的小说主要使用全知叙述视角和线性结构讲述故事，其中也包含着限知人物视角的切换和结构上的散文化特征。

Her novels are mainly the use of omniscient and linear structure tells a story , which also contains limit powder cultural characteristics switching and structure characters on the knowledge perspective .

死亡：一个独特的全知叙事视角阎连科小说死亡书写浅探以全知为主体的多角度叙述茅盾《幻灭》叙述模式析

Death : a particular angle of view of omniscient narration an analysis of the narrative techniques of Mao dun 's " dashed hope " from various angles taking omniscient as the subject

还是作者是以一个全知的视角来叙述整篇文章的（全知的视角即作者知道文章主人公不知道的东西）？

Does the narrator have a limited or partial point of view ? Or does the narrator appear to be omniscient , and he knows things the characters couldn 't possibly know ?

儿童视角是儿童发现以后被作家们所亲睐的一种叙事策略，它的出现而构成的叙事学意义是多重的：直接参与了对传统的全知叙事视角的变革；

Writing in a perspective from children is writers ' favorite strategy of narration , which plays a multiple role in narratology : first , it encourages the reform of traditional omniscient and omnipotent perspective of narration ;