从《欧米伽点》看唐·德里罗后现代写作的“美”与“丑”
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摘要
唐·德里罗的创作,始终结合现代人的生活环境,无论是从早期工业时代美国大众生活环境的迷茫,还是到现代大众生活文化的改变,唐·德里罗都用自己独特的艺术角度去分析其中蕴藏着的社会问题,充满了人文关怀。以唐·德里罗的代表作《欧米伽点》为切入点,讨论唐·德里罗后现代写作中的具体实现途径,欣赏他作品中透露出来的"美"和"丑"。
Don Delillo's creation has always been combined with the living environment of modern people,whether it is the confusion of the American mass living environment from the early industrial era,or the change of modern mass life culture. Don Delillo uses his own unique artistic perspective to structure the social problems that lie in it. It's full of humanistic concern. This paper focuses on Omega Point to discuss the concrete realization channel of Don Delilo's postmodern writing and appreciate the"beauty"and"ugliness"revealed in this work.
Don Delillo's creation has always been combined with the living environment of modern people,whether it is the confusion of the American mass living environment from the early industrial era,or the change of modern mass life culture. Don Delillo uses his own unique artistic perspective to structure the social problems that lie in it. It's full of humanistic concern. This paper focuses on Omega Point to discuss the concrete realization channel of Don Delilo's postmodern writing and appreciate the"beauty"and"ugliness"revealed in this work.
引文
[1]靳涵身,靳相茹.再现媒介文化张力之美——评《唐·德196.
[2]范小玫.美国后现代作家唐·德里罗的“互文性”创作手法评析[J].小说评论,2012(S2):71—78.
[3]靳相茹,张瑞红.书写梦魇,救赎自我——创伤视域下的《欧米伽点》[J].鸭绿江(下半月版),2015(3):806—807.
[4]王志锐.探析美国后现代小说《白噪音》中的生态意识[J].语文学刊(外语教育教学),2015(11):56—57.
[5]周敏.语言何为?——从《名字》看德里罗的语言观[J].外国语(上海外国语大学学报),2014(5):81—88.
[6]卢翔宇.论唐·德里罗小说《欧米伽点》的后现代书写[D].成都:西南交通大学,2016.
[7]Duvall,John N.“Introduction:The Power of History and the Persistence of Mystery.”The Cambridge Companion to Don De Lillo,2008.
[8]Boxall P. De L illo and media culture. The Cambridge Companion to Don De L illo,2008.
[9]梅琼林,连水兴.论鲍德里亚的后现代媒介思想——一种哲学层面的审视和反思[J].东南大学学报:哲学社会科学版,2007(5):20—23.
[10]张瑞红.艺术与现实的反思——评唐·德里罗的《欧米伽点》[J].译林,2012(2):199—202.
[11]张雅萍.唐·德里罗在《白噪音》中对科技理性的质疑[J].黑龙江教育学院学报,2012(1):129—132.
[12]姜小卫.“书写是思考的一种浓缩形式”——评德里罗新作《终点》[J].外国文学动态,2010(3):17—20.
[2]范小玫.美国后现代作家唐·德里罗的“互文性”创作手法评析[J].小说评论,2012(S2):71—78.
[3]靳相茹,张瑞红.书写梦魇,救赎自我——创伤视域下的《欧米伽点》[J].鸭绿江(下半月版),2015(3):806—807.
[4]王志锐.探析美国后现代小说《白噪音》中的生态意识[J].语文学刊(外语教育教学),2015(11):56—57.
[5]周敏.语言何为?——从《名字》看德里罗的语言观[J].外国语(上海外国语大学学报),2014(5):81—88.
[6]卢翔宇.论唐·德里罗小说《欧米伽点》的后现代书写[D].成都:西南交通大学,2016.
[7]Duvall,John N.“Introduction:The Power of History and the Persistence of Mystery.”The Cambridge Companion to Don De Lillo,2008.
[8]Boxall P. De L illo and media culture. The Cambridge Companion to Don De L illo,2008.
[9]梅琼林,连水兴.论鲍德里亚的后现代媒介思想——一种哲学层面的审视和反思[J].东南大学学报:哲学社会科学版,2007(5):20—23.
[10]张瑞红.艺术与现实的反思——评唐·德里罗的《欧米伽点》[J].译林,2012(2):199—202.
[11]张雅萍.唐·德里罗在《白噪音》中对科技理性的质疑[J].黑龙江教育学院学报,2012(1):129—132.
[12]姜小卫.“书写是思考的一种浓缩形式”——评德里罗新作《终点》[J].外国文学动态,2010(3):17—20.