“文如其城”——约翰·多斯·帕索斯《曼哈顿中转站》空间叙事的背后逻辑
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摘要
评论界一致认同《曼哈顿中转站》最主要特色是空间化叙事,但对于采用空间化叙事的动因、来源和目的却各执一词。本文由此出发,探讨《曼哈顿中转站》空间化叙事的背后逻辑,揭示去中心的空间化叙事形式与重建中心的现代主义诉求之间的悖论关系,论证《曼哈顿中转站》一方面彰显了现代主义重建中心的审美诉求,另一方面也实现了现代主义新批评所倡导的意义与形式的有机结合。
It is commonly accepted that Dos Passos' s Manhattan Transfer is a paradigmatic example of the modernist city novel and its greatness is the spatial narrative. But as regards the source and function of its spatial narrative,critics have different opinions. This paper explores the underlying logic behind the spatial narrative and argues that the novel's spatial narrative is closely connected with the urban space of New York City which is characterized by an inherent tension and paradox.
It is commonly accepted that Dos Passos' s Manhattan Transfer is a paradigmatic example of the modernist city novel and its greatness is the spatial narrative. But as regards the source and function of its spatial narrative,critics have different opinions. This paper explores the underlying logic behind the spatial narrative and argues that the novel's spatial narrative is closely connected with the urban space of New York City which is characterized by an inherent tension and paradox.
引文
(1)E.D.Lowry,“Manhattan Transfer:Dos Passos’s Wasteland”,University Review 30(1963),p.47.
(2)Ben Stoltzfus,“John Dos Passos and the French”,Comparative literature 15(1963),p.146.
(3)E.D.Lowry,“The Lively Art of Manhattan Transfer”,PMLA 6(1969),p.1628.
(4)Donald Pizer,“John Dos Passos in the 1920s:The Development of a Modernist Style”,Mosaic 45|4(2012),p.51.
(5)Maurice Beebe,“What Modernism Was”,Journal of Modern Literature 3(1974),p.1073.
(6)John Aldridge,After the Lost Generation(New York:Mc Graw-Hill,1951),p.71.
(7)F.R.Leavis,“A Serious Artist”,Dos Passos:A Collection of Critical Essays,ed.Andrew Hook(Englewood Cliffs,NJ:Prentice-Hall,Inc.,1974),p.72,p.75.
(8)Granville Hicks,“The Politics of Dos Passos”,Dos Passos:A Collection of Critical Essays,ed.Andrew Hook(Englewood Cliffs,NJ:Prentice-Hall,Inc.,1974),p.20.
(9)John Dos Passos,Manhattan Transfer(New York:Penguin Books,2000),p.16.(以后引用,在正文中随文标出页码。)
(10)杜鹃:《都市群像图:谈〈曼哈顿中转站〉中的主体形象》,载《语文学刊》2003年第6期,64页。
(11)Sinclair Lewis,“‘Manhattan at Last!’Review of Manhattan Transfer by John Dos Passos”,Saturday Review of Literature(December,1925),p.361.
(12)伦纳德·史莱茵:《艺术与物理学》,吴伯泽、暴永宁译,吉林人民出版社2001年版,238页。
(13)J.E.A.Cirlot,A Dictionary of Symbols,trans.Jack Sage(New York:Philosophical Library,1962),p.39.
(14)Umberto Boccioni,“Futurist Painting and Sculpture(Extracts)1914”,in Futurist Manifestos(New York:Viking,1973),p.178.
(15)Glauco Cambon,The Inclusive Flame:Studies in Modern American Poetry(Bloomington:Indiana UP,1965),p.129.
(16)Glauco Cambon,The Inclusive Flame:Studies in Modern American Poetry,p.129.
(17)Jean Baudrillard,Simulations,trans.Paul Foss&Paul Patton(New York:Semiotext,Inc.,1983),p.152.
(18)Mircea Eliade,Images and Symbols:Studies in Religious Symbolism,trans.Philip Mairet(Princeton:Princeton UP,1991),p.38.
(19)John Dos Passos,“A Note on Fitzgerald”,The Crack-Up,ed.Edmund Wilson(New York:New Directions,1945),p.338.
(20)Giacomo Balla and Fortunato Depero,“Futurist Reconstruction of the Universe 1915”,in Futurist Manifestos(New York:Viking,1973),p.197.
(21)Jean-Francois Lyotard,The Postmodern Condition:A Report on Knowledge(Minneapolis:University of Minnesota Press,1984),p.xxiv.
(22)Jean-Francois Lyotard,The Postmodern Condition:A Report on Knowledge,p.78.
(23)Jean-Paul Sartre,“John Dos Passos and 1919”,in Dos Passos,the Critics,and the Writer’s Intention(Carbondale and Edwardsville:Southern Illinois University Press,1971),p.74.
(2)Ben Stoltzfus,“John Dos Passos and the French”,Comparative literature 15(1963),p.146.
(3)E.D.Lowry,“The Lively Art of Manhattan Transfer”,PMLA 6(1969),p.1628.
(4)Donald Pizer,“John Dos Passos in the 1920s:The Development of a Modernist Style”,Mosaic 45|4(2012),p.51.
(5)Maurice Beebe,“What Modernism Was”,Journal of Modern Literature 3(1974),p.1073.
(6)John Aldridge,After the Lost Generation(New York:Mc Graw-Hill,1951),p.71.
(7)F.R.Leavis,“A Serious Artist”,Dos Passos:A Collection of Critical Essays,ed.Andrew Hook(Englewood Cliffs,NJ:Prentice-Hall,Inc.,1974),p.72,p.75.
(8)Granville Hicks,“The Politics of Dos Passos”,Dos Passos:A Collection of Critical Essays,ed.Andrew Hook(Englewood Cliffs,NJ:Prentice-Hall,Inc.,1974),p.20.
(9)John Dos Passos,Manhattan Transfer(New York:Penguin Books,2000),p.16.(以后引用,在正文中随文标出页码。)
(10)杜鹃:《都市群像图:谈〈曼哈顿中转站〉中的主体形象》,载《语文学刊》2003年第6期,64页。
(11)Sinclair Lewis,“‘Manhattan at Last!’Review of Manhattan Transfer by John Dos Passos”,Saturday Review of Literature(December,1925),p.361.
(12)伦纳德·史莱茵:《艺术与物理学》,吴伯泽、暴永宁译,吉林人民出版社2001年版,238页。
(13)J.E.A.Cirlot,A Dictionary of Symbols,trans.Jack Sage(New York:Philosophical Library,1962),p.39.
(14)Umberto Boccioni,“Futurist Painting and Sculpture(Extracts)1914”,in Futurist Manifestos(New York:Viking,1973),p.178.
(15)Glauco Cambon,The Inclusive Flame:Studies in Modern American Poetry(Bloomington:Indiana UP,1965),p.129.
(16)Glauco Cambon,The Inclusive Flame:Studies in Modern American Poetry,p.129.
(17)Jean Baudrillard,Simulations,trans.Paul Foss&Paul Patton(New York:Semiotext,Inc.,1983),p.152.
(18)Mircea Eliade,Images and Symbols:Studies in Religious Symbolism,trans.Philip Mairet(Princeton:Princeton UP,1991),p.38.
(19)John Dos Passos,“A Note on Fitzgerald”,The Crack-Up,ed.Edmund Wilson(New York:New Directions,1945),p.338.
(20)Giacomo Balla and Fortunato Depero,“Futurist Reconstruction of the Universe 1915”,in Futurist Manifestos(New York:Viking,1973),p.197.
(21)Jean-Francois Lyotard,The Postmodern Condition:A Report on Knowledge(Minneapolis:University of Minnesota Press,1984),p.xxiv.
(22)Jean-Francois Lyotard,The Postmodern Condition:A Report on Knowledge,p.78.
(23)Jean-Paul Sartre,“John Dos Passos and 1919”,in Dos Passos,the Critics,and the Writer’s Intention(Carbondale and Edwardsville:Southern Illinois University Press,1971),p.74.