论安吉拉·卡特短篇小说中的互文性
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摘要
英国女作家安吉拉·卡特自称“解神话的人”。她毕生致力于对各类神话的本质及其运作形式的探究和解构,特别关心男性神话对女性本质的界定,以西方为中心的神话对其他文化的界定,以及白人神话对有色人种的界定。在卡特的众多作品中,她摒弃了被人们普遍接受并认为是理所当然的经验,赋予那些被迫沉默的人理智而多彩的生命,使他们自由地发表观点。卡特综合运用多种方式表达自己的解神话思想,尤其擅长使用互文性技巧。在作品中,卡特主要应用了四种互文手法,它们分别是:引用、暗指、戏仿和拼贴。
本文深入讨论了卡特的三类互文性短篇小说。在第一类小说中,她重述了传统的欧洲童话和民间故事,并为它们注入了现代意义。在第二类小说中,她改写了一些闻名于世的经典作品。被改写的作品里既有文学名著,也有其他形式的艺术精品,甚至包括哲学、心理学等方面的理论著作。第三类小说是卡特对历史人物和历史事件的再定义和再阐释。
通过对传统作品、理论和观念的解构,卡特试图建立一种折衷主义的世界观。这种世界观可以包容和接纳一切思想,甚至是那些截然相反的观点。每种观点都有了立足之地,可以和其他思想平等地交流,不再有绝对的正确之分和真伪之分。卡特认为任何界限都是可以逾越的,一切都是流动的和易变的。
本文进一步指出,一方面,互文性在卡特的解神话尝试中发挥了重要的作用,增强了她的作品的魅力;另一方面,互文性限制了卡特的想象力。多重互文的运用也加大了读者的阅读困难。
Angela Carter is a self-claimed "demythologizer," who is engaged in the shattering of myths, especially the male myth about the female, the Western-center myth about other cultures, and the white myth about the colored. By rejecting universally accepted experience and equipping silenced people with a reasonable and diversified life history, Carter invites them to voice their own opinions. She embodies her demythologization in different ways, the technology of intertextuality in particular. There are four types of intertextual devices mainly used in Carter's fiction: quotation, allusion, parody, and collage.
In this thesis, the present author examines three sets of Carter's intertextual rewritings. The first set includes her retellings of classic European fairy tales or folklores; the second set is her re-readings of a number of famous extant manuscripts; the last is her reconstructions of many historical legends.
Through deconstructing conventional works, accepted theories and principles, Carter tries to build the eclectic world view, which contains and accepts various thoughts, even these entirely different ideas. Every idea can equally communicate with others and there is no absolute right or wrong. In Carter's mind, any boundary can be overstepped and the life is flowing and changeable.
The present author further points out that on one hand, intertextuality plays an important role in Carter's demythologizing attempts and enhances the charm of her works; on the other hand, it limits Carter's imagination and multi-referential relations also cause obstacles to the process of reading.
本文深入讨论了卡特的三类互文性短篇小说。在第一类小说中,她重述了传统的欧洲童话和民间故事,并为它们注入了现代意义。在第二类小说中,她改写了一些闻名于世的经典作品。被改写的作品里既有文学名著,也有其他形式的艺术精品,甚至包括哲学、心理学等方面的理论著作。第三类小说是卡特对历史人物和历史事件的再定义和再阐释。
通过对传统作品、理论和观念的解构,卡特试图建立一种折衷主义的世界观。这种世界观可以包容和接纳一切思想,甚至是那些截然相反的观点。每种观点都有了立足之地,可以和其他思想平等地交流,不再有绝对的正确之分和真伪之分。卡特认为任何界限都是可以逾越的,一切都是流动的和易变的。
本文进一步指出,一方面,互文性在卡特的解神话尝试中发挥了重要的作用,增强了她的作品的魅力;另一方面,互文性限制了卡特的想象力。多重互文的运用也加大了读者的阅读困难。
Angela Carter is a self-claimed "demythologizer," who is engaged in the shattering of myths, especially the male myth about the female, the Western-center myth about other cultures, and the white myth about the colored. By rejecting universally accepted experience and equipping silenced people with a reasonable and diversified life history, Carter invites them to voice their own opinions. She embodies her demythologization in different ways, the technology of intertextuality in particular. There are four types of intertextual devices mainly used in Carter's fiction: quotation, allusion, parody, and collage.
In this thesis, the present author examines three sets of Carter's intertextual rewritings. The first set includes her retellings of classic European fairy tales or folklores; the second set is her re-readings of a number of famous extant manuscripts; the last is her reconstructions of many historical legends.
Through deconstructing conventional works, accepted theories and principles, Carter tries to build the eclectic world view, which contains and accepts various thoughts, even these entirely different ideas. Every idea can equally communicate with others and there is no absolute right or wrong. In Carter's mind, any boundary can be overstepped and the life is flowing and changeable.
The present author further points out that on one hand, intertextuality plays an important role in Carter's demythologizing attempts and enhances the charm of her works; on the other hand, it limits Carter's imagination and multi-referential relations also cause obstacles to the process of reading.
引文
1 Angela Carter,"Notes from the Front Line," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),25.
2 Roland Barthes,Mythologies,Annette Lavers,trans.(London:Vintage,1993),129.
3 Paul Barker,"The Return of the Magic Story-Teller," Independent on Sunday,(8 January 1995),14.
4 Sarah Gamble,Angela Carter:Writing From the Front Line,(Edinburgh:Edinburgh University Press,1997),1.
5 Michelle Nelmarie Buchel,"'Bankrupt Enchantments' and 'Fraudulent Magic':Demythologizing in Angela Carter's The Bloody Chamber and Nights at the Circus,"(Online,2003),available from:http://upetd.up.ac.za/thesis/available/etd-10282004-103512/unrestricted/00dissertatio n.pdf,accessed 2007.
6 Ibid,1.
7 Elaine Jordan,"The Dangers of Angela Carter," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),36.
8 Angela Carter,"Afterword to Fireworks," in Burning Your Boats,(London:Vintage,2006),459.
9 Linden Peach,Macmillan Modern Novelists:Angela Carter,(New York:St.Martin's Press,1998),6-7.
10 Ibid,7.
11 Peach,160.
12 Lindsey Tucker,introduction to Critical Essays on Angela Carter,(New York:G.K.Hall& Co.,1998),2.
13 Peach,164-165.
14 Carter,"Notes from the Front Line," 29.
15 John Haffenden,Novelists in Interview,(London and New York:Methuen, 1985),81.
16 Ibid,79.
17 Tucker,4.
18 Haffenden,79.
19 Carter,The Sadeian Woman,36.
20 Robin Ann Sheets,"Pornography,Fairy Tales,and Feminism:Angela Carter's 'The Bloody Chamber'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),98.
21 M.H.Abrams,ed.A Glossary of Literary Terms,7th edition,(Beijing:Foreign Language Teaching and Research Press,2004),170.
22 Anna Katsavos,"An Interview with Angela Carter,"(Online,1994),available from:http://www.centerforbookculture.org/interviews/interview_carter.html,accessed 2007.
23 Ibid.
24 Peach,161.
25 Ibid,4.
16 Abrams,170.
27 Salman Rushdie,introduction to Burning Your Boats,(London:Vintage,2006),x.
28 Julia Simon,Rewriting the Body:Desire,Gender and Power in Selected Novels byAngela Carter,(Frankfurt am Main:Peter Lang GmbH,2004),16.
29 Ilyse Kusnetz,"The White Witch," New Statesman,Vol.129(2000)Issue 4486,58.
30 Mikhail M.Bakhtin,Problem of Dostoevsky's Poetics.C.Emerson,ed.&trans.,(Minneapolis:University of Minnesota Press,1984),40.
31 Julia Kristeva,Desire in Language:A Semiotic Approach to Literature and Art,Leon Roudiez,ed.,Alice Jardine,Thomas Gora & Leon Roudiez,trans.,(New York:Columbia UP,1980),66.
32 Harold Bloom,A Map of Misunderstanding,(Oxford:Oxford University Press,1975),3.
33 Carter,"Notes from the Front Line," 24.
34 Christina Ruse,& Marilyn Hopton,eds,The Cassell Dictionary of Literary and Language Terms,(Beijing:World Publishing Corporation,1993),243.
35 董希文:文学文本互文类型分析,《文艺评论》,2006年第一期,第15页。
36 Anna Tonne,"An Interview with Michel Buter,"(Online,1985),available from:http://www.centerforbookculture.org/interviews/interview butor.html,accessed 2007.
37 Chris Baldick,Oxford Concise Dictionary of Literary Terms,(Shanghai:Shanghai Foreign Language Education Press,2001),6.
38 T.S.艾略特的长诗《荒原》的中译本可见于http://www.douban.com/review/1396545/.
39 Ruse,& Hopton,62.
40 Peach,22.
41 Carter,"Notes from the Front Line," 25.
42 Danielle M.Roemer,& Cristina Bacchilega,eds.,Angela Carter and the Fairytale,(Detroit:Wayne State University Press,2001),9-10.
43 Angela Carter,ed.,The Virago Book of Fairy Tales,(London:Virago,1990),9.
44 刘炳善:《英国文学简史》,(郑州:河南人民出版社,1992年),第171页。
45 Carter,The Virago Book of Fairy Tales,9.
46 Kenn Bannerman,"A Short Interview with Jack Zipes,"(Online,2002),available from http://www.bitingdogpress.com/zipes/zipes.html,accessed 2007.
47 Maria Tartar,The Hard Facts of the Grimms'Fairy Tales(Princeton:Princeton UP,1987),171-172.
48 Ibid,158.
49 Sheets,104.
50 Ibid,104.
51 Katsavos,Online.
52 Haffenden,83.
53 Sheets,107.
54 Carter,The Sadeian Woman,125.
55 Ibid,23.
56 Haffenden,84.
57 Margaret Atwood wrote of Carter in the Observer."The amazing thing about her,for me,was that someone who looked so much like the Fairy Godmother...should actually be so much like the Fairy Godmother." Available from http://www.kirjasto.sci.fi/acarter.htm,accessed 2007.
58 Haffenden,82.
59 Elaine Showalter,A Literature of Their Own:British Women Novelists from Bronte to Lessing,(Peking:Foreign Language Teaching and Research Press,2004),263.
60 Carter,"Notes from the Front Line," 29.
61 Harriet Kramer Linkin,"Isn't It Romantic?:Angela Carter's Bloody Revision of the Romantic Aesthetic in 'The Erl-King'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),120.
62 Ibid,120.
63 Ibid,122.
64 Linda Hutcheon,A Poetics of Postmodernism:History,Theory,Fiction,(New York & London:Routledge,1988),96.
65 Ibid,95.
66 参见 http://en.wikiquote.org/wiki/Robert_Penn_Warren.
67 Carter,"Notes from the Front Line," 28.
68 Angela Carter,The Infernal Desire Machines of Doctor Hoffman,(Harmondsworth:Penguin,1972),197-198.
69 Jill Matus,"Blonde,Black and Hottentot Venus:Context and Critique in Angela Carter's 'Black Venus'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),134.
70 参见 http://www.poetry-archive.com/b/the_balcony.html.
71 A.E.Carter,Charles Baudelaire,(Boston:Twayne,1977),37.
72 参见 http://www.hauntedhamilton.com/gotw_lizzieborden.html.
73 Christine Berni,"Taking an Axe to History:The Historical Lizzie Borden and the Postmodem Historiography of Angela Carter,"(Online,1997),available from http://www.questia.com/googleScholar.qst;jsessionid=HL2D662yXyN1s7bWwM4Lv yCqc1XrqglXK5MYfFq0YZV4GGcB6Fkn!-1713790833?docld=5001523917,accessed 2007.
74 Richard Pedot,"Re-Writing the Fetish:Angela Carter's Tales,"(Online,2006),available from http://archives.univ-lyon2.fr/232/1/Pedot.pdf,accessed 2007.
75 Rushdie,ⅹⅳ.
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2 Roland Barthes,Mythologies,Annette Lavers,trans.(London:Vintage,1993),129.
3 Paul Barker,"The Return of the Magic Story-Teller," Independent on Sunday,(8 January 1995),14.
4 Sarah Gamble,Angela Carter:Writing From the Front Line,(Edinburgh:Edinburgh University Press,1997),1.
5 Michelle Nelmarie Buchel,"'Bankrupt Enchantments' and 'Fraudulent Magic':Demythologizing in Angela Carter's The Bloody Chamber and Nights at the Circus,"(Online,2003),available from:http://upetd.up.ac.za/thesis/available/etd-10282004-103512/unrestricted/00dissertatio n.pdf,accessed 2007.
6 Ibid,1.
7 Elaine Jordan,"The Dangers of Angela Carter," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),36.
8 Angela Carter,"Afterword to Fireworks," in Burning Your Boats,(London:Vintage,2006),459.
9 Linden Peach,Macmillan Modern Novelists:Angela Carter,(New York:St.Martin's Press,1998),6-7.
10 Ibid,7.
11 Peach,160.
12 Lindsey Tucker,introduction to Critical Essays on Angela Carter,(New York:G.K.Hall& Co.,1998),2.
13 Peach,164-165.
14 Carter,"Notes from the Front Line," 29.
15 John Haffenden,Novelists in Interview,(London and New York:Methuen, 1985),81.
16 Ibid,79.
17 Tucker,4.
18 Haffenden,79.
19 Carter,The Sadeian Woman,36.
20 Robin Ann Sheets,"Pornography,Fairy Tales,and Feminism:Angela Carter's 'The Bloody Chamber'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),98.
21 M.H.Abrams,ed.A Glossary of Literary Terms,7th edition,(Beijing:Foreign Language Teaching and Research Press,2004),170.
22 Anna Katsavos,"An Interview with Angela Carter,"(Online,1994),available from:http://www.centerforbookculture.org/interviews/interview_carter.html,accessed 2007.
23 Ibid.
24 Peach,161.
25 Ibid,4.
16 Abrams,170.
27 Salman Rushdie,introduction to Burning Your Boats,(London:Vintage,2006),x.
28 Julia Simon,Rewriting the Body:Desire,Gender and Power in Selected Novels byAngela Carter,(Frankfurt am Main:Peter Lang GmbH,2004),16.
29 Ilyse Kusnetz,"The White Witch," New Statesman,Vol.129(2000)Issue 4486,58.
30 Mikhail M.Bakhtin,Problem of Dostoevsky's Poetics.C.Emerson,ed.&trans.,(Minneapolis:University of Minnesota Press,1984),40.
31 Julia Kristeva,Desire in Language:A Semiotic Approach to Literature and Art,Leon Roudiez,ed.,Alice Jardine,Thomas Gora & Leon Roudiez,trans.,(New York:Columbia UP,1980),66.
32 Harold Bloom,A Map of Misunderstanding,(Oxford:Oxford University Press,1975),3.
33 Carter,"Notes from the Front Line," 24.
34 Christina Ruse,& Marilyn Hopton,eds,The Cassell Dictionary of Literary and Language Terms,(Beijing:World Publishing Corporation,1993),243.
35 董希文:文学文本互文类型分析,《文艺评论》,2006年第一期,第15页。
36 Anna Tonne,"An Interview with Michel Buter,"(Online,1985),available from:http://www.centerforbookculture.org/interviews/interview butor.html,accessed 2007.
37 Chris Baldick,Oxford Concise Dictionary of Literary Terms,(Shanghai:Shanghai Foreign Language Education Press,2001),6.
38 T.S.艾略特的长诗《荒原》的中译本可见于http://www.douban.com/review/1396545/.
39 Ruse,& Hopton,62.
40 Peach,22.
41 Carter,"Notes from the Front Line," 25.
42 Danielle M.Roemer,& Cristina Bacchilega,eds.,Angela Carter and the Fairytale,(Detroit:Wayne State University Press,2001),9-10.
43 Angela Carter,ed.,The Virago Book of Fairy Tales,(London:Virago,1990),9.
44 刘炳善:《英国文学简史》,(郑州:河南人民出版社,1992年),第171页。
45 Carter,The Virago Book of Fairy Tales,9.
46 Kenn Bannerman,"A Short Interview with Jack Zipes,"(Online,2002),available from http://www.bitingdogpress.com/zipes/zipes.html,accessed 2007.
47 Maria Tartar,The Hard Facts of the Grimms'Fairy Tales(Princeton:Princeton UP,1987),171-172.
48 Ibid,158.
49 Sheets,104.
50 Ibid,104.
51 Katsavos,Online.
52 Haffenden,83.
53 Sheets,107.
54 Carter,The Sadeian Woman,125.
55 Ibid,23.
56 Haffenden,84.
57 Margaret Atwood wrote of Carter in the Observer."The amazing thing about her,for me,was that someone who looked so much like the Fairy Godmother...should actually be so much like the Fairy Godmother." Available from http://www.kirjasto.sci.fi/acarter.htm,accessed 2007.
58 Haffenden,82.
59 Elaine Showalter,A Literature of Their Own:British Women Novelists from Bronte to Lessing,(Peking:Foreign Language Teaching and Research Press,2004),263.
60 Carter,"Notes from the Front Line," 29.
61 Harriet Kramer Linkin,"Isn't It Romantic?:Angela Carter's Bloody Revision of the Romantic Aesthetic in 'The Erl-King'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),120.
62 Ibid,120.
63 Ibid,122.
64 Linda Hutcheon,A Poetics of Postmodernism:History,Theory,Fiction,(New York & London:Routledge,1988),96.
65 Ibid,95.
66 参见 http://en.wikiquote.org/wiki/Robert_Penn_Warren.
67 Carter,"Notes from the Front Line," 28.
68 Angela Carter,The Infernal Desire Machines of Doctor Hoffman,(Harmondsworth:Penguin,1972),197-198.
69 Jill Matus,"Blonde,Black and Hottentot Venus:Context and Critique in Angela Carter's 'Black Venus'," in Critical Essays on Angela Carter,Lindsey Tucker,ed.,(New York:G.K.Hall & Co.,1998),134.
70 参见 http://www.poetry-archive.com/b/the_balcony.html.
71 A.E.Carter,Charles Baudelaire,(Boston:Twayne,1977),37.
72 参见 http://www.hauntedhamilton.com/gotw_lizzieborden.html.
73 Christine Berni,"Taking an Axe to History:The Historical Lizzie Borden and the Postmodem Historiography of Angela Carter,"(Online,1997),available from http://www.questia.com/googleScholar.qst;jsessionid=HL2D662yXyN1s7bWwM4Lv yCqc1XrqglXK5MYfFq0YZV4GGcB6Fkn!-1713790833?docld=5001523917,accessed 2007.
74 Richard Pedot,"Re-Writing the Fetish:Angela Carter's Tales,"(Online,2006),available from http://archives.univ-lyon2.fr/232/1/Pedot.pdf,accessed 2007.
75 Rushdie,ⅹⅳ.
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