“重写小说”中的“重读”结构 ——以《杰克·麦格斯》和《匹普先生》为例
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摘要
小说范畴的"重写"以经典小说为"前文本",通过反转人物关系、重塑人物形象、切换视角等叙事策略,使"重写"与"前文本"形成结构差异,引发读者对经典进行重新阅读。这一现象在后殖民文学批评领域被视为对文化帝国主义的象征抵抗。本文认为,"重写小说"的结构方式多种多样,因此,对"重写小说"的解释不能囿于后殖民文学批评长期强调的"帝国逆写"模式。文章以《杰克·麦格斯》和《匹普先生》为例,分析两部作品分别以"作者阅读"和"人物阅读"呈现的不同结构关系。以作家对《远大前程》的"对位阅读"为"重读"立场,《杰克·麦格斯》通过情节重置使"重写"与"前文本"形成"同故事内嵌式"结构;这种"重写"既是作者对"前文本"的"重读",也是重写文本以互文结构向"作者的读者"发出的阐释召唤。与此不同,《匹普先生》以故事中人物阅读行为,强调经典小说对读者的情感结构的影响。
"Revisionary fiction" or "revisionary re-writing," as is sometimes called, belongs to the general category of canon revision. Using canonical novels as "pretexts," revisionary stories resort to various narrative strategies, such as reconstructing story lines, turning character relations upside down, shifting narrative perspectives, all of which repeat the "pretexts" with different degrees of narrative difference, which in turn, evoke different interpretations. Unfortunately, these narratological differences are often subjected to the limited interpretive protocols of postcolonial oppositional readings. To illustrate the structural differences of canon revision, this article takes a close look at Jack Maggs and Mister Pip—both are categorized within postcolonial responses to Charles Dickens. Concentrating on the textual representation of acts of "reading" in the two texts—one in the interpretive strategy of "contrapuntal reading" conducted by the revisionary writer, the other in the act of reading/listening by characters in the story world, the present discussion reveals how acts of reading(within and without) invoke different responses to the canon as well as its revision.
"Revisionary fiction" or "revisionary re-writing," as is sometimes called, belongs to the general category of canon revision. Using canonical novels as "pretexts," revisionary stories resort to various narrative strategies, such as reconstructing story lines, turning character relations upside down, shifting narrative perspectives, all of which repeat the "pretexts" with different degrees of narrative difference, which in turn, evoke different interpretations. Unfortunately, these narratological differences are often subjected to the limited interpretive protocols of postcolonial oppositional readings. To illustrate the structural differences of canon revision, this article takes a close look at Jack Maggs and Mister Pip—both are categorized within postcolonial responses to Charles Dickens. Concentrating on the textual representation of acts of "reading" in the two texts—one in the interpretive strategy of "contrapuntal reading" conducted by the revisionary writer, the other in the act of reading/listening by characters in the story world, the present discussion reveals how acts of reading(within and without) invoke different responses to the canon as well as its revision.
引文
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Norridge,No?.“From Wellington to Bougainville:Migrating Meanings and the Joys of Approximation in LIoyd Jones’Mister Pip.”Journal of Commonwealth Literature 45.1(2010):57-74.
Phelan,James.Experiencing Fiction:Judgments,Progressions,and the Rhetorical Theory of Narrative.Columbus:Ohio State UP,2007.
Rabinowitz,Peter J.“What’s Hecuba to Us?The Audience’s experience of Literary Borrowing.”The Reader in the Text.Ed.Susan R.Suleiman and Inge Crosman.Princeton:Princeton UP,1980.241-63.
Sadoff,Dianne F.Neo-Victorian Tropes of Trauma:The Politics of Bearing After-Witness to Nineteenth-Century Suffering.New York:Rodopi,2010.
Said,Edward.Culture and Imperialism.New York:Knopf,1993.
Schlicke,Paul.The Oxford Companion to Charles Dickens.Oxford:OUP,2011.
Steveker,Lena.“Eminent Victorians and Neo-Victorian Fictional Biography.”Boehm-Schnitker and Gruss 67-78.
Thieme,John.Postcolonial Con-Texts:Writing Back to the Canon.London:Continuum,2001.
Warhol,Robyn R.“Neonarrative,or,How to Render the Unnarratable in Realist Fiction and Contemporary Film.”A Companion to Narrative Theory.Ed.James Phelan and Peter J.Rabinowitz.London:Blackwell,2005.220-31.
Widdowson,Peter.“Writing Back:Contemporary Re-Visionary Fiction.”Textual Practice 20.3(2006):491-507.
Williams,Raymond.“People of the Black Mountains:John Barnie Interviews Raymond Williams.”Planet65(1987):3-13.
Zimmerman,Virginia.Excavating Victorians.New York:State U of New York P,2008.
蒂博代:《六说文学批评》,赵坚译。北京:三联书店,2002。[Thibaudet,Albert.Physiologies de la Critique.Trans.Zhao Jian.Beijing:SDX Joint,2002.]
Baker,William,and Kenneth Womack,eds.A Companion to the Victorian Novel.Westport:Greenwood,2002.
Boehm-Schnitker,Nadine,and Susanne Gruss,eds.Neo-Victorian Literature and Culture:Immersions and Revisitations.New York:Routledge,2014.
Booth,Wayne C.The Company We Keep.Berkeley:U of California,1988.
Carey,Peter.Jack Maggs.London:Faber,1997.
Culler,Jonathan.The Pursuit of Signs.London:Routledge and Kegan Paul,1981.
Dickens,Charles.Great Expectations.London:Penguin,1976.
Eco,Umberto.The Role of the Reader:Explorations in the Semiotics of Texts.London:Hutchinson,1981.
Ho,Elizabeth.Neo-Victorianism and the Memory of Empire.London:Continuum,2012.
Hornung,Alfred.“The Autobiographical Mode in Contemporary American Fiction.”Prose Studies 8.3(185):69-83.
Hutcheon,Linda.A Theory of Adaptation.New York:Routledge,2006.
Iser,Wolfgang.The Implied Reader:Patterns of Communication in Prose Fiction from Bunyan to Beckett.Baltimore:Johns Hopkins UP,1974.
Jones,LIoyd.Mister Pip.New York:Dial,2006.
Korkut-Nayki,Nil.“How to Do Things with Words and Texts:Literature and Rewriting as Performance in LIoyd Jones’s Mister Pip.”English Studies 93.1(2012):43-56.
Lanone,Catherine.“Revisiting Great Expectations:The Postcolonial Persistence of Dickens.”études Anglaises65.1(2012):19-29.
Latham,Monica.“Bringing Newness to the World:Lloyd Jones’s‘Pacific Version of Great Expectations.’”Dickens Quarterly 28.1(2011):22-40.
Norridge,No?.“From Wellington to Bougainville:Migrating Meanings and the Joys of Approximation in LIoyd Jones’Mister Pip.”Journal of Commonwealth Literature 45.1(2010):57-74.
Phelan,James.Experiencing Fiction:Judgments,Progressions,and the Rhetorical Theory of Narrative.Columbus:Ohio State UP,2007.
Rabinowitz,Peter J.“What’s Hecuba to Us?The Audience’s experience of Literary Borrowing.”The Reader in the Text.Ed.Susan R.Suleiman and Inge Crosman.Princeton:Princeton UP,1980.241-63.
Sadoff,Dianne F.Neo-Victorian Tropes of Trauma:The Politics of Bearing After-Witness to Nineteenth-Century Suffering.New York:Rodopi,2010.
Said,Edward.Culture and Imperialism.New York:Knopf,1993.
Schlicke,Paul.The Oxford Companion to Charles Dickens.Oxford:OUP,2011.
Steveker,Lena.“Eminent Victorians and Neo-Victorian Fictional Biography.”Boehm-Schnitker and Gruss 67-78.
Thieme,John.Postcolonial Con-Texts:Writing Back to the Canon.London:Continuum,2001.
Warhol,Robyn R.“Neonarrative,or,How to Render the Unnarratable in Realist Fiction and Contemporary Film.”A Companion to Narrative Theory.Ed.James Phelan and Peter J.Rabinowitz.London:Blackwell,2005.220-31.
Widdowson,Peter.“Writing Back:Contemporary Re-Visionary Fiction.”Textual Practice 20.3(2006):491-507.
Williams,Raymond.“People of the Black Mountains:John Barnie Interviews Raymond Williams.”Planet65(1987):3-13.
Zimmerman,Virginia.Excavating Victorians.New York:State U of New York P,2008.
蒂博代:《六说文学批评》,赵坚译。北京:三联书店,2002。[Thibaudet,Albert.Physiologies de la Critique.Trans.Zhao Jian.Beijing:SDX Joint,2002.]