E.L.多克托罗历史小说中的去神话改写
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摘要
本论文以E.L.多克托罗的四部历史小说《欢迎来到艰难时代镇》，《拉格泰姆》，《鱼鹰湖》和《大进军》为例，旨在揭示多克托罗历史小说中隐含的去神话思想，论述多克托罗如何用解放性叙事来消解神话的宏大叙事。
本论文以罗兰巴特的现代神话理论为理论基础，提出神话是一种宏大叙事。神话是人类意图和想象的产物，受人类心理、认知和政治等因素的影响以真理的面目呈现，但其本质是虚假的。作为一位执着的去神话斗士，多克托罗自他的第一部小说发表以来，一直在同各种神话做不懈的斗争。他以戏仿、反讽、互文和复调为叙事策略，来对抗和消解神话的宏大叙事。他的历史小说不仅是对长期深刻影响美国社会的多种神话的去神话改写，同时也是对历史作为事实真理神话的去神话改写。
在《欢迎来到艰难时代镇》中，多克托罗通过一个西部小镇从衰到盛到彻底衰落的过程，完全颠覆了读者对西部英雄和西部作为希望之地的信念。他以戏仿为叙事策略，将艺术现实中的西部与神话中的西部对照，通过两者之间的差距颠覆了美国人盲目的种族完美意识，打破了美国人关于美国文明作为幸福和繁荣之源的信念。
在《拉格泰姆》中，多克托罗将一幅看似完美的美国社会图景与少数群体被剥夺了平等与正义的现实相对。借助于反讽虽表面合作但意在颠覆的叙事策略，多克托罗从主流文化话语的内部对其发起去神话攻击，从统治阶级自身的视角出发对其虚伪和保守进行了揭露。
在《鱼鹰湖》中，通过主人公由天真青年堕落为腐败成人的成长历程，多克托罗打破了美国人天性善良仁慈的神话。他利用互文的叙事策略，将主人公和马克吐温笔下的哈克费恩以及菲茨杰拉德笔下的盖茨比两个经典文学形象并置，通过将主人公的命运和他们的命运进行对照，揭露美国社会中夺走年轻人天真和国家精神追求的邪恶力量。
在美国历史上，南北双方各自形成的关于谢尔曼将军和大进军的两种截然相反的神话彻底暴露了神话的虚伪性本质。在《大进军》中，多克托罗采用巴赫金所提出的复调式叙事手法，以一种“欢快的相对性”瓦解了神话叙事的绝对性，从而使谢尔曼将军回归了人性，也使大进军回归了真实的历史性。
多克托罗将他的几部小说背景置于美国历史上的重要历史时期，既透过历史背景对美国社会生活中的种种核心神话进行审视，也对历史本身作为事实真理的神话提出了质疑。多克托罗异常警惕叙事中潜在的束缚力量，但他同时也坚信叙事的解放力量。相对于所谓“真”的官方历史文献对历史的垄断，他以一种“假”文献的创作形式来对抗“真”文献的合法性。他的每一部历史小说都以“假”文献的形式呈现。从账簿、日记到回忆录等，每一部文献都试图从不同于官方的角度对历史进行书写。其结果是，历史作为封闭的不容置疑的事实的神话地位被打破，历史被降到了叙事的地位。
出于对民主和真理的追求，多克托罗颠覆了美国例外论中的多种核心神话以及历史作为事实真理的神话。他的历史小说复原了美国社会生活的复杂性和含混性，也为美国历史提供了不同的解读。
Focusing on Welcome to Hard Times, Ragtime, Loon Lake, and The March asrepresentative of Doctorow’s historical novels, this dissertation seeks to demonstrateDoctorow’s life-long demythologizing spirit and efforts in his historical fiction.
Based on Roland Barthes’ theory on mythologies, this dissertation proposes thatmyth is a grand narrative that, due to psychological, cognitive and political factors,claims the status of truth, but, in fact, is often the distorted result of human intentionsand imaginations, therefore, tends to be false. As a tireless myth-fighter, Doctorow hasbeen fighting a persistent war against myths ever since the publication of his firstfiction. By countering the grand narrative of myths with liberating narrative strategiessuch as parody, irony, intertextuality and polyphony, Doctorow subverts not only thecentral myths that concern American society most deeply and persistently over time,but also the myth of history itself.
Through a Western frontier town’s cycle ofdestruction-reconstruction-deconstruction, Doctorow in Welcome to Hard Timesradicallyviolates readers’ belief in the Western hero and the myth of the West as a landof hope and promise. Doctorow’s strategic use of parody foregrounds the gap betweenthe fictional West and the mythical West, problematizes American people’s blindoptimism in the human perfectibility, and topples their conviction in Americancivilization as a guarantor of happiness and prosperity.
In Ragtime, a seemingly impeccable world of America is ironically juxtaposedagainst one where minority groups are denied their equality and justice. With irony as astrategy of co-operative subversion, Doctorow launches his demythologization fromright within the discourse of the dominant culture, exposing from their own perspectivethe hypocrisy and conservativeness of the dominant classes in America.
In Loon Lake, through the hero’s degeneration from a youth of innocence to a manof corruption, Doctorow subverts the American people’s general conviction in their virtues of kindness and benevolence. A strategic employment of intertextualitybetween the hero and the classic literary characters of Huck Finn and Gatsby exposesthe evil forces latent in American society that robs a young man of his innocence andthe American nation of its poetic dreams.
In American history, the fact that two opposing myths have evolved aroundSherman and the March in the American North and South reveals most explicitly thedeceptive nature of myths. In The March, by adopting a Bakhtinnian polyphonicnarration, Doctorow creates a kind of “gay relativity” which deconstructs theabsoluteness and totality of the mythic narratives, and restores humanity to Shermanand genuine historicity to the March.
Doctorow sets his novels in important historical periods, examining not only thevalidity of those central myths in American social life, but also the myth of history itself.Firmly convinced of the liberating power of language just as he is strongly suspiciousof its controlling power, Doctorow resorts to “false” documents to challenge thelegitimation of the “true” historical documents and break their monopoly over history.Every novel of his is presented as “false” documents such as ledgers, journals, ormemoirs in an effort to compose history from a different perspective from the officialdocuments. History thus loses its mythical status as the closed, unchallengeable facts,and falls to the level of narratives.
Out of his belief in democracy and truth, Doctorow subverts the central myths inAmerican Exceptionalism and the myth of history as a science of facts. His historicalfiction restores complexity and ambiguity to the American social life and offersdifferent interpretations to the otherwise monolithic American history.
本论文以罗兰巴特的现代神话理论为理论基础，提出神话是一种宏大叙事。神话是人类意图和想象的产物，受人类心理、认知和政治等因素的影响以真理的面目呈现，但其本质是虚假的。作为一位执着的去神话斗士，多克托罗自他的第一部小说发表以来，一直在同各种神话做不懈的斗争。他以戏仿、反讽、互文和复调为叙事策略，来对抗和消解神话的宏大叙事。他的历史小说不仅是对长期深刻影响美国社会的多种神话的去神话改写，同时也是对历史作为事实真理神话的去神话改写。
在《欢迎来到艰难时代镇》中，多克托罗通过一个西部小镇从衰到盛到彻底衰落的过程，完全颠覆了读者对西部英雄和西部作为希望之地的信念。他以戏仿为叙事策略，将艺术现实中的西部与神话中的西部对照，通过两者之间的差距颠覆了美国人盲目的种族完美意识，打破了美国人关于美国文明作为幸福和繁荣之源的信念。
在《拉格泰姆》中，多克托罗将一幅看似完美的美国社会图景与少数群体被剥夺了平等与正义的现实相对。借助于反讽虽表面合作但意在颠覆的叙事策略，多克托罗从主流文化话语的内部对其发起去神话攻击，从统治阶级自身的视角出发对其虚伪和保守进行了揭露。
在《鱼鹰湖》中，通过主人公由天真青年堕落为腐败成人的成长历程，多克托罗打破了美国人天性善良仁慈的神话。他利用互文的叙事策略，将主人公和马克吐温笔下的哈克费恩以及菲茨杰拉德笔下的盖茨比两个经典文学形象并置，通过将主人公的命运和他们的命运进行对照，揭露美国社会中夺走年轻人天真和国家精神追求的邪恶力量。
在美国历史上，南北双方各自形成的关于谢尔曼将军和大进军的两种截然相反的神话彻底暴露了神话的虚伪性本质。在《大进军》中，多克托罗采用巴赫金所提出的复调式叙事手法，以一种“欢快的相对性”瓦解了神话叙事的绝对性，从而使谢尔曼将军回归了人性，也使大进军回归了真实的历史性。
多克托罗将他的几部小说背景置于美国历史上的重要历史时期，既透过历史背景对美国社会生活中的种种核心神话进行审视，也对历史本身作为事实真理的神话提出了质疑。多克托罗异常警惕叙事中潜在的束缚力量，但他同时也坚信叙事的解放力量。相对于所谓“真”的官方历史文献对历史的垄断，他以一种“假”文献的创作形式来对抗“真”文献的合法性。他的每一部历史小说都以“假”文献的形式呈现。从账簿、日记到回忆录等，每一部文献都试图从不同于官方的角度对历史进行书写。其结果是，历史作为封闭的不容置疑的事实的神话地位被打破，历史被降到了叙事的地位。
出于对民主和真理的追求，多克托罗颠覆了美国例外论中的多种核心神话以及历史作为事实真理的神话。他的历史小说复原了美国社会生活的复杂性和含混性，也为美国历史提供了不同的解读。
Focusing on Welcome to Hard Times, Ragtime, Loon Lake, and The March asrepresentative of Doctorow’s historical novels, this dissertation seeks to demonstrateDoctorow’s life-long demythologizing spirit and efforts in his historical fiction.
Based on Roland Barthes’ theory on mythologies, this dissertation proposes thatmyth is a grand narrative that, due to psychological, cognitive and political factors,claims the status of truth, but, in fact, is often the distorted result of human intentionsand imaginations, therefore, tends to be false. As a tireless myth-fighter, Doctorow hasbeen fighting a persistent war against myths ever since the publication of his firstfiction. By countering the grand narrative of myths with liberating narrative strategiessuch as parody, irony, intertextuality and polyphony, Doctorow subverts not only thecentral myths that concern American society most deeply and persistently over time,but also the myth of history itself.
Through a Western frontier town’s cycle ofdestruction-reconstruction-deconstruction, Doctorow in Welcome to Hard Timesradicallyviolates readers’ belief in the Western hero and the myth of the West as a landof hope and promise. Doctorow’s strategic use of parody foregrounds the gap betweenthe fictional West and the mythical West, problematizes American people’s blindoptimism in the human perfectibility, and topples their conviction in Americancivilization as a guarantor of happiness and prosperity.
In Ragtime, a seemingly impeccable world of America is ironically juxtaposedagainst one where minority groups are denied their equality and justice. With irony as astrategy of co-operative subversion, Doctorow launches his demythologization fromright within the discourse of the dominant culture, exposing from their own perspectivethe hypocrisy and conservativeness of the dominant classes in America.
In Loon Lake, through the hero’s degeneration from a youth of innocence to a manof corruption, Doctorow subverts the American people’s general conviction in their virtues of kindness and benevolence. A strategic employment of intertextualitybetween the hero and the classic literary characters of Huck Finn and Gatsby exposesthe evil forces latent in American society that robs a young man of his innocence andthe American nation of its poetic dreams.
In American history, the fact that two opposing myths have evolved aroundSherman and the March in the American North and South reveals most explicitly thedeceptive nature of myths. In The March, by adopting a Bakhtinnian polyphonicnarration, Doctorow creates a kind of “gay relativity” which deconstructs theabsoluteness and totality of the mythic narratives, and restores humanity to Shermanand genuine historicity to the March.
Doctorow sets his novels in important historical periods, examining not only thevalidity of those central myths in American social life, but also the myth of history itself.Firmly convinced of the liberating power of language just as he is strongly suspiciousof its controlling power, Doctorow resorts to “false” documents to challenge thelegitimation of the “true” historical documents and break their monopoly over history.Every novel of his is presented as “false” documents such as ledgers, journals, ormemoirs in an effort to compose history from a different perspective from the officialdocuments. History thus loses its mythical status as the closed, unchallengeable facts,and falls to the level of narratives.
Out of his belief in democracy and truth, Doctorow subverts the central myths inAmerican Exceptionalism and the myth of history as a science of facts. His historicalfiction restores complexity and ambiguity to the American social life and offersdifferent interpretations to the otherwise monolithic American history.
引文
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