CAJ | 학술논문

法国天主教作家莫里亚克在《黛莱丝·德克罗》和《给麻风病人的吻》两部小说的初稿中采用了“忏悔”的叙事方式，但定稿中却改换人称，删除了忏悔的情节，而后期的两部作品《蝮蛇结》和《昔日一少年》又重现了“忏悔”的叙事方式。这一叙事方式由出现、消失到重现的过程体现了作家创作生涯中信仰与写作之间的密切联系。
법국천주교작가막리아극재《대래사·덕극라》화《급마풍병인적문》량부소설적초고중채용료“천회”적서사방식，단정고중각개환인칭，산제료천회적정절，이후기적량부작품《복사결》화《석일일소년》우중현료“천회”적서사방식。저일서사방식유출현、소실도중현적과정체현료작가창작생애중신앙여사작지간적밀절련계。
The French Catholic writer Mauriac used the narration mode of confession in the first draft of Thérèse Desqueyroux and Le baiser au lépreux, but deleted the confession in the finalization, and then reused this narration mode in his later novels Le N?ud de vipères and Un adolescent d'autrefois. This change reflects the close link between faith and writing in the writer's literary creation career.