Abstract: Based on the hypotheses of the duality of life and art, and the conception of the history of literature that there is a cyclic evolution between stories spreading in the history and in daily life, and the re-plotting of these stories (only as materials), Russian formalists basically understood two concepts of “фабула” and “сюжет” as “materials” (mainly in the form of events) and “plot” (artistic narration of these “materials”). However, their understanding and expression were also sometimes vague, and failed to distinguish event as materials from story, and story from plot. This ambiguity caused a constant misreading in the transnational spread of these Russian concepts. In the 1940s and 1950s, American literary critics including René Wellek vaguely interpreted “Fabula”, and even replaced “story” with “material”, which laid the foundation for the popularity of this pair concepts of “story” and “discourse” in European, American and Chinese narrative circles. Fundamentally speaking, the daily life narrative poetics based on the interaction between life and art can effectively explain the form of event material and other basic issues.

Key words: Fabula, Syuzhet, mterial, plot, story

摘要： 基于生活与艺术二元、文学史及生活中流传的故事与对这些故事(作为素材)重新情节化之循环文学史观,俄国形式主义者把фабула与сюжет这对概念理解为以事件形式存在的“素材”,与对这些事件素材的艺术化叙述,即“情节”。不过,他们的理解与表达也时显模糊而未能很好区分素材事件与故事、故事与情节这些成对的概念。这种模糊在这对俄语概念的跨国流传中引发了连锁反应式的误读:韦勒克等美国文论家在20世纪四五十年代模糊解释“素材”(Fabula),甚至以“故事”替代“素材”,为后来整个欧美及中国叙述学界“故事”与“话语”这对概念的流行埋下了隐患。根本而言,基于生活与艺术互动尝试建立一种日常生活叙述诗学,方能有效解释事件素材的存在形态等问题。

关键词: 法布拉, 休热特, 素材, 情节, 故事