后现代诗学下《夜车》对传统侦探小说“元叙事”的解构
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摘要
反侦探小说《夜车》是马丁·艾米斯最动人心魄、直睹生命面貌的细致作品。本文探讨《夜车》中的"不可靠的叙事"和"小叙事"、"对元叙事的怀疑",集中分析《夜车》戏仿传统侦探小说"可靠的叙事"或"元叙事"的范式。死者父亲汤姆提供各种证据,侦探迈克·胡里罕尽可能多地收集证据,试图依时间线破解珍妮弗·罗克韦尔的死因;然而随着侦探迈克深入调查,由于缺乏证据和对珍妮弗死因的多种猜测,加之迈克自身情感的掺杂,珍妮弗死亡之因一直神秘不解。藉此,艾米斯表明在不确定、怀疑、无权威、缺乏自我表达的后现代诗学下,作家很难创作出传统侦探小说式的完美破案,获得终极意义的侦探故事。
This paper examines the view of "unreliable"or "little narrative"or "incredulity toward metanarrative"in Martin Amis' s Night Train. This paper focuses upon the convention of traditional"reliable"or"metanarrative"in Night Train. Mike Hoolihan as a detective investigates Jennifer Faulkner's suicide by collecting all the possible evidences and then examining them in a chronological linear way. Jennifer's father Tom also provides evidences as much as possible to seek a murderer. However,Mike fails to solve Jennifer's mysterious death due not only to lack of evidence and various interpretations about her death but also to Mike's own emotional involvement,Jennifer's death remains a mystery from the beginning to the end in the novel. Amis apparently illuminates that it is almost impossible to create a detective fiction with a final legitimate total meaning as in a traditional detective novel in postmodern poetics based on uncertainty,doubt,lack of authority and self-expression.
This paper examines the view of "unreliable"or "little narrative"or "incredulity toward metanarrative"in Martin Amis' s Night Train. This paper focuses upon the convention of traditional"reliable"or"metanarrative"in Night Train. Mike Hoolihan as a detective investigates Jennifer Faulkner's suicide by collecting all the possible evidences and then examining them in a chronological linear way. Jennifer's father Tom also provides evidences as much as possible to seek a murderer. However,Mike fails to solve Jennifer's mysterious death due not only to lack of evidence and various interpretations about her death but also to Mike's own emotional involvement,Jennifer's death remains a mystery from the beginning to the end in the novel. Amis apparently illuminates that it is almost impossible to create a detective fiction with a final legitimate total meaning as in a traditional detective novel in postmodern poetics based on uncertainty,doubt,lack of authority and self-expression.
引文
[1]W C布斯.小说修辞学[M].华明,胡晓苏,周宪,译.北京:北京大学出版社,1987.
[2]让-弗朗索瓦·利奥塔尔.后现代状态[M].车槿山,译.南京:南京大学出版社,2011.
[3]袁洪庚.旧瓶中的新酒:玄学侦探小说论[J].兰州大学学报:社会科学报,1988(26):127-134.
[4]Joanna Stolarek. A Crime Story or Metafictional Game?-A Definition and Redefinition of the Status of the Detective Novel in Martin Amis's London Fields and Tzvetan Todorov's Typology of Detective Fiction[J]. Anglica Wratislaviensia,2009(47):27-39.
[5]Heather Woethington. Key Concepts in Crime Fiction[M]. Basingstoke:Palgrave Macnillan,2011:1.
[6]Edward Quinn. A Dictionary of Literary and Thematic Terms[M]. New York:Facts on File,Inc.,2006:114.
[7]Karen Seago. Introduction and Overview:Crime(Fiction)in Translation[J]. The Journal of Specialized Translation,2014(47):27-39.
[8]马丁·艾米斯.夜车[M].何致和,译.上海:上海译文出版社,2014.
[9]袁洪庚.现代英美侦探小说起源及演变研究[J].国外文学,2005(4):60-69.
[2]让-弗朗索瓦·利奥塔尔.后现代状态[M].车槿山,译.南京:南京大学出版社,2011.
[3]袁洪庚.旧瓶中的新酒:玄学侦探小说论[J].兰州大学学报:社会科学报,1988(26):127-134.
[4]Joanna Stolarek. A Crime Story or Metafictional Game?-A Definition and Redefinition of the Status of the Detective Novel in Martin Amis's London Fields and Tzvetan Todorov's Typology of Detective Fiction[J]. Anglica Wratislaviensia,2009(47):27-39.
[5]Heather Woethington. Key Concepts in Crime Fiction[M]. Basingstoke:Palgrave Macnillan,2011:1.
[6]Edward Quinn. A Dictionary of Literary and Thematic Terms[M]. New York:Facts on File,Inc.,2006:114.
[7]Karen Seago. Introduction and Overview:Crime(Fiction)in Translation[J]. The Journal of Specialized Translation,2014(47):27-39.
[8]马丁·艾米斯.夜车[M].何致和,译.上海:上海译文出版社,2014.
[9]袁洪庚.现代英美侦探小说起源及演变研究[J].国外文学,2005(4):60-69.