【文章由作者提供给维吾尔在线，转载须征得维吾尔在线和作者本人同意】
摘 要

本文注重探讨《伊米德史》叙事策略，并要分析此书的叙事艺术与维吾尔叙事传统和维吾尔文化中集体无意识成分之间的关系。文章认为，文化是文学创作赖以生存的土壤，所以，探讨任何一部作品的叙事策略时，必须要将它与民族身份、民族集体无意识和民族思维方式联系在一起。本文通过文本分析，要揭示作者的创作心里过程和思维方式。

第一章是本文的导言部分。对当代叙事学的概念进行简单的介绍，尤其是对上世纪90年代后风靡一时的后现代叙事学这一新兴学科的生成过程和目前状况。人类离不开叙事，叙事不只限于文学，叙事是人类存在的一种基本方式。可以说，人类的历史本身就是人类的一种自我叙述方式，可以说叙事无所不在。

第二章谈论应用当代叙事学分析《伊米德史》的可能性。长期以来，历史文本《伊米德史》的研究一直处于相对薄弱的状态。造成这种状况的原因是学者们总是把《伊米德史》当作历史文本来阅读，而它的艺术性未引起人们的足够的重视。其实《伊米德史》不仅仅是一部历史文献，还是一部具有高超的艺术性质的作品。穆萨·赛拉米不仅仅是一位历史学家，还是一位诗人和作家。他一生中写过不少诗歌和传记，如：《格则里亚特（诗集）》，《斯迪克正传》，《帕尔哈提与西琳》，《家书》等等。 从他的每一部作品中我们可以感觉到非常有力的独特叙事风格。《伊米德史》是维吾尔维吾尔古典文学中叙事艺术的无价之宝。

第三章注重探讨《伊米德史》中叙述者的身份及其叙述角度。 作者在此书中以非常独特的身份出现。他是很多历史事件的参与者又是旁观者，有时所有的情节都在这个反映者的视野中逐步展开，有时作者非常客观地描述历史事件，使读者陷入对历史事件的悖论之中。《伊米德史》的叙述者身份是非常复杂的。叙事者又像是作者本人，又像是维吾尔人的民族精神，也代表着维吾尔文化传统。

第四章讨论了《伊米德史》的叙事时间。叙事时间作为文学创作者的一种叙事策略，是叙事研究的一个主要范畴。《伊米德史》具有的非常独特的叙事方法之一就是文本所呈现出来的时间顺序的安排。

第五章探讨《伊米德史》中维吾尔民间叙述方式的运用及其与维吾尔文化深层结构的关系。从文本内部来看，《伊米德史》融历史，神话，幻想及自传等体裁为一炉，内容浩瀚，场面恢宏，呈现了万花筒似的叙事技巧，采取大故事套小故事的叙事方式，连环迂回，枝蔓重生，非常活跃。对《伊米德史》这样历史文本的叙述方式的研究中我们可以发现民族记忆和本民族体验世界的方式”。

关键词 伊米德史，叙事学，叙述

ABSTRACT

Title: Narrative strategy in the Hamidian History

This article focuses on the narrative strategy of the Hamidian history and attempts to analize the relationship between this book’s narrative art and Uyghur narative tradition and collective uncontionesness in the Uyghur culture. The article points out that culture is the soil where literature lives and develops, so the research of narrative strategy of any kinds of the work’s narrative strategy related to the national identity, collective unconsiousnes and the national way of thinking. Based on a textual analysis, the article attempts to reveal the writer’s psychological factors, mode of thinking and expression.

In organization, the Chapter one intruduces what narratology is, how it is constructed and how it works in the literary creation. Narratology is the descriptive field devoted to the systematic study of narrative which a newly arised branch of learning. Today narrative art become more and more vital field in the literature study. some scholars emphasize that narrative is found not just in the arts but everywhere in the ordinary course of peoples’s lives.

Chapter two discusses the possibility of studying on the Hamidian history with a new way of narratology. Musa Sayrami is generally regarded as a historian, because few people studying about artistic aspectis of his works. Musa Sayrami not only was a foremost Uyghur historian but also was a poet and writer of great narrative power. Hamidian History is a treasure of narrative art in the Uyghur classic literature.

Chapter three placing the emphasis on the narrators identity in the Hamidian history, discusses about the voice focalization reliebility and so on. Narrator is the teller of the story, but is not necessarily the author. The narrators identity is an interesting philosophical question involving the relation of voice, character, points of view that uncontiously controlled by cultural identity or national mode of thinking. Narrator in Hamidian History has a very complicated identity, he looks like the author himself some times, and stand for Uyghur identity or cultural tradition.

Chapter four discusses about narrative time in the Hamidian history. Mosa Sayrami employs the technique of the juxtaposition of various narrative forms in his masterpiece Hamidian history and narrative time is one of the technique he used. In the book the narrative points of attention are always shifting from this time to another.

Chapter five mainly focuses on the multilayered relationship between the narrative forms of Uyghur folklore and deep-seated structure of Uyghur culture. And discusses how it reveals at Hamidian history.

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