历史与当下危机中的伊恩·麦克尤恩小说
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摘要
作为当今英国文坛呼风唤雨的人物，伊恩·麦克尤恩驰骋英伦小说界达三十多年之久，笔耕不辍，获奖良多。1998年因长篇小说《阿姆斯特丹》而获得布克奖，是公认的语言大师，其娴熟的叙事技巧和深邃独特的伦理洞见使他差不多成为“英伦三岛上在世的最伟大小说家”。
麦克尤恩早期小说均为短篇，主题大都涉及性暴、乱伦、谋杀、行为倒退等伦理禁忌，因而获得“恐怖伊恩”的绰号。但是他中后期作品的主旨风格有所改变，更多地转向家庭生活、伦理道德、历史认识和信仰冲突等“严肃话题”，先后写出《阿姆斯特丹》和《赎罪》等九部长篇，成为蜚声海内外的“英国国民作家”。近年来，学界从实验和创新、互文性、伦理困境、心理分析和隐喻、以及焦虑和叙事欲望等角度对其作品中的情爱色欲、家庭伦理、战争创伤、文化焦虑和历史影响等主题进行了多维度的分析，指出麦克尤恩是英国战后新生代小说界的代表人物，他的小说对近代英国历史事件情有独钟，故事情节中充满了互文性描写，作品的故事背景突破了英伦岛域局限，作品的叙事结构舍弃了传统小说的连续性特点等。
麦克尤恩的小说作品的确是多维的，其艺术风格也是变化的，但是系统地审视英国战后社会现实和麦克尤恩小说的主旨意向，人们会发现“危机”是贯穿英国社会、解读麦克尤恩小说的关键词。从麦克尤恩的主要作品中，人们可以梳理出伦理道德，历史认识和宗教信仰等几类危机；麦克尤恩站在当代哲学、历史和政治的高度，熟练地运用现代、后现代叙事技巧对这几类危机进行了深刻的展示、剖析和批判。
战后英国国力日衰，经济危机频发，社会矛盾加剧，传统价值渐式微，整个社会一度礼崩乐坏，道德衰退。麦克尤恩在其短篇小说中，以伦理禁忌作为话题，再现了英国六七十年代社会和家庭生活中的情色和暴力场景。按照叙事空间理论，读者通过拼贴、并置等方式，很快能发现这些文本彰显了英国传统情爱价值观的失落。在《阿姆斯特丹》中，麦克尤恩利用丝丝入扣的情节安排，在丰富的互文性和微妙的职业伦理衬托下，对伦理道德核心价值如诚信、友谊和忠诚的缺失进行了嘲弄和讽刺，引人深思，发人深省。而在《赎罪》中，麦克尤恩通过元小说技巧和人物对比方式，在独特的社会背景和伦理境遇中，展示了后现代自我救赎方式——就是以叙事求赎罪——的艰难和珍贵；小说无疑丰富了赎罪小说的社会和伦理维度。从后两部作品中可以看出，麦克尤恩精于把“公共事件”和普通人物的私人生活巧妙地衔接起来，故事的过程和结局往往显示出他对英国社会在诚信缺失、虚伪盛行的伦理道德危机中踽踽而行的无奈。
二十世纪既是科技日新月异的百年，又是集中营、大屠杀时代，检讨历史功过，反思过去得失成为战后知识界的要务。对于历史认识危机，麦克尤恩利用《赎罪》中主要人物罗比的视角对敦刻尔克撤退的前线战场和后方医院进行重新塑造，以巴特诗学“悖论”消解了具有压制性、权威性的“常论”，反驳了历史的唯一性和不可阐释性观点；而《黑犬》则利用琼和伯纳德的多维视角和不可靠叙述手法，“客观地”展现了这对曾经相爱却不能相守的夫妇对他们共同经历的往事——“遭遇黑犬”的不同记忆，表明历史是“主观的、多维的”，因此也是可以给予阐释的。
实际上，反思历史必须查验理性和非理性，自由民主和独裁恐怖的对立和对抗，梳理近一个世纪以来人类在价值信仰上的纷杂。麦克尤恩在《黑犬》中刻画了琼的神秘主义和伯纳德的理性主义对立，表明在理性迷途的后现代语境下，信奉神秘主义也是对当下文明的一种深层思考，而作为艺术家，麦克尤恩通过人物境遇，对此危机开出的良方是“真爱”；在《星期六》中，麦克尤恩着眼当下危机，用乔伊斯式的心理描写刻画了自由世界在恐怖主义阴霾下，对生命价值的切身体会，对自由和民主权力的珍视，以及对以暴制暴悖论的深度思考，凸显了当代自由主义在恐怖威胁下的局限和无奈。
总之，总结一下麦克尤恩的艺术之路，我们不难发现，在他的各式主题小说中，或伦理禁忌，或家庭生活、政治话题和战争故事，他用艺术家敏锐的观察力和非凡的表现力，对英国甚至是欧洲的历史和当下危机做了或隐含或直接的表露。他关注人性，对罪与恶给予有力的批判和嘲讽，对真与善也予以含蓄的认同和褒奖，而对那些灰色地带更是进行了深刻的探讨；他也关注历史认识和宗教信仰，他深知理性与非理性，宏大叙事和“小历史”，自由主义和恐怖主义的纷繁嘈杂与莫衷一是，但他深刻而生动地再现了笼罩在这些复杂命题下的社会生活危机和人类生存危机。这一切都表明，麦克尤恩心存人文关怀，背负社会公义，继承英国小说伟大传统，是一位具有高度的艺术使命感和社会责任感的伟大小说家。
As a winner of almost all major English fiction awards, Ian McEwanhas established himself over the past30years as one of the mostinfluential figures in the contemporary British literary world. The1998Booker Prize for Amsterdam, with others, has gained him a reputation ofa great master of language. His skillful narrative techniques and uniquelyinsightful ethical understandings have made him “arguably the best livingBritish novelist”.
The early works of Ian McEwan, mainly short stories, arecharacterized with tabooed subjects like incest, murder, sexual violenceand behavior degeneration, for which he was once given the nickname ofMacabre Ian. His later works, primarily novels, however, have shownconsiderable changes in their themes, which turn to address more seriousissues such as family lives, moral and ethical vulnerabilities, historicalinterpretations and cultural conflicts and so on. Up to now, he hascomposed nine masterpieces one after another, which include Amsterdamand Atonement, and he has been acclaimed as England’s national author.Since the1990s, McEwan’s works have been much studied in literary criticism. From differing perspectives and in varying approaches:psychoanalysis and narrative desires, for instance, scholars have analyzedhis works in such aspects as narrative styles and the fictional themes,which range from love and sex, family ethics, war trauma, culturalanxiety to historical impacts. It is believed that McEwan’s fiction, imbuedwith narrative experimentation such as deliberate fragmentariness in plotarrangements, and intertextual allusions, ethical dilemmas, has brokenthrough the confines of the British Isles in story settings and shows astrong interest in more immediate past of England. Ian McEwan is arepresentative of British post-war generation novelists.
McEwan’s novels, indeed, are multidimensional with changing stylesover his long career, but retrospection of the British social reality after theSecond World War and perusal of the themes of his novels would lead usto the finding that CRISIS is the key word to the understandings ofBritish society and McEwan’s fiction. Readers can sort out in his mainnovels and short stories, at least, three types of crises: moral obligation,historical understandings and personal beliefs. Ian McEwan skillfullyemploys varying modern and post-modern narrative techniques to reveal, analyze and repudiate these crises from certain political, historical andphilosophic viewpoints.
Post-war U. K. witnessed the decline of its national strength, andsuffered the strikes of the ensuing economic crises in the inflicting socialturmoil. These changes caused failing of the traditional values anddrastically lowered the general moral standards of the whole society. Inhis short stories, McEwan reproduces the sexually violent and abnormalscenarios of the British60’s and70’s social and family life. With the helpof collage and juxtaposition and other narrative space techniques, readers,would vision immediately in his texts the loss of Victorian valuesconcerning love. In Amsterdam, a thought-provoking novel, he makesgood use of carefully-arranged plots, abundant intertextual references andcontroversial professional ethics to probe and satirize the dark side ofhumanity such as paralysis of integrity, friendship and loyalty. In anothermuch-acclaimed novel, Atonement, by means of meta-fiction andcharacter contrast, McEwan demonstrates the difficulty and rarity ofpost-modern way of self-atonement through narrating in particular socialand ethical circumstances. Atonement enriches the ethical dimensions of the atonement novels ever written. These two novels prove that McEwanis adept at connecting brilliantly the public events and private life; what ismore, the development and ending of the stories reveal a streak ofhelplessness which is caused by permeating hypocrisy, insincerity andinsanity throughout every corner of the United Kingdom.
The Twentieth Century was both an age of science and technology,and a time of massacre and concentration camps. As a result, the reviewand self-examination of the past century has been an important andpressing issue for the post-war intellectual communities. For the crisis ofhistorical understandings, McEewan reshapes the battleground and homefront of Dunkirk Evacuation from the perspective of Robbie Turner, theprotagonist of Atonement. On the basis of Roland Barthes’s the Doxa andthe Para-Doxa theory, McEwan deconstructs the suppressive andauthoritative discourse about Dunkirk Miracle through his poeticnarration, and refutes the definitive viewpoint that argues history isunique and uninterpretable. Whereas, in Black Dogs, by dint of unreliablenarration, McEwan tells readers articulately and objectively that Bernardand June, who are in love with each other but can not live together, have different memories of their shared history, namely, encounter of blackdogs from their own positions. Here McEwan wants to indicate thathistory is subjective and multi-dimensional, thus allows variedinterpretations.
As a matter of fact, an introspection of the past also needs to examinethe confusing conflicts in values and beliefs such as confrontationsbetween rationality and non-rationality, democracy and totalitarianism. InBlack Dogs, McEwan sets June’s mysticism against Bernard’s rationalism,indicating that embracement of mysticism is another way of thinking indepth of modern civilization under the circumstances where rationalismhas strayed in post-modern context. As an artist, McEwan makes aprescription of “true love” for the crisis through depicting personal lifeexperiences of characters in the novel. By contrast, in Saturday, McEwanfocuses on the contemporary crisis of the world, and he portrays the waythe free society experiences life, cherishes freedom and democracy, andreflects on the paradoxical view of violence against violence under thethreat of terrorism. The novel highlights the limitations and incapacitationof modern liberalism.
In short, the summary of McEwan’s writing career enables us tounderstand that in his works of different themes, either tabooed subjects,or family life, political topics and war stories, he reveals directly orindirectly the past and present crises of U. K. and even Europe, with hissingular artistic vision and extraordinary expressive force. He keeps awatchful eye on humanity, criticizing and ridiculing sins and evils,commending and praising implicitly truth and good, and exploring deeplythe gray areas of the innermost heart. He also pays close attention tohistorical interpretations and values and beliefs, with full understandingsof confusion and disagreements between rationalism and non-rationalism,grand narratives and “small histories”, liberalism and terrorism.Searchingly and vividly, McEwan, however, reconstructs these political,social and even survival crises in these complex propositions. All of theseshow that with an extremely high sense of artistic mission and socialresponsibility, McEewan always bears righteousness and humanistic carein his soul and carries forward the great tradition of British novels;therefore he indeed deserves the title of Britain’s national author.
麦克尤恩早期小说均为短篇，主题大都涉及性暴、乱伦、谋杀、行为倒退等伦理禁忌，因而获得“恐怖伊恩”的绰号。但是他中后期作品的主旨风格有所改变，更多地转向家庭生活、伦理道德、历史认识和信仰冲突等“严肃话题”，先后写出《阿姆斯特丹》和《赎罪》等九部长篇，成为蜚声海内外的“英国国民作家”。近年来，学界从实验和创新、互文性、伦理困境、心理分析和隐喻、以及焦虑和叙事欲望等角度对其作品中的情爱色欲、家庭伦理、战争创伤、文化焦虑和历史影响等主题进行了多维度的分析，指出麦克尤恩是英国战后新生代小说界的代表人物，他的小说对近代英国历史事件情有独钟，故事情节中充满了互文性描写，作品的故事背景突破了英伦岛域局限，作品的叙事结构舍弃了传统小说的连续性特点等。
麦克尤恩的小说作品的确是多维的，其艺术风格也是变化的，但是系统地审视英国战后社会现实和麦克尤恩小说的主旨意向，人们会发现“危机”是贯穿英国社会、解读麦克尤恩小说的关键词。从麦克尤恩的主要作品中，人们可以梳理出伦理道德，历史认识和宗教信仰等几类危机；麦克尤恩站在当代哲学、历史和政治的高度，熟练地运用现代、后现代叙事技巧对这几类危机进行了深刻的展示、剖析和批判。
战后英国国力日衰，经济危机频发，社会矛盾加剧，传统价值渐式微，整个社会一度礼崩乐坏，道德衰退。麦克尤恩在其短篇小说中，以伦理禁忌作为话题，再现了英国六七十年代社会和家庭生活中的情色和暴力场景。按照叙事空间理论，读者通过拼贴、并置等方式，很快能发现这些文本彰显了英国传统情爱价值观的失落。在《阿姆斯特丹》中，麦克尤恩利用丝丝入扣的情节安排，在丰富的互文性和微妙的职业伦理衬托下，对伦理道德核心价值如诚信、友谊和忠诚的缺失进行了嘲弄和讽刺，引人深思，发人深省。而在《赎罪》中，麦克尤恩通过元小说技巧和人物对比方式，在独特的社会背景和伦理境遇中，展示了后现代自我救赎方式——就是以叙事求赎罪——的艰难和珍贵；小说无疑丰富了赎罪小说的社会和伦理维度。从后两部作品中可以看出，麦克尤恩精于把“公共事件”和普通人物的私人生活巧妙地衔接起来，故事的过程和结局往往显示出他对英国社会在诚信缺失、虚伪盛行的伦理道德危机中踽踽而行的无奈。
二十世纪既是科技日新月异的百年，又是集中营、大屠杀时代，检讨历史功过，反思过去得失成为战后知识界的要务。对于历史认识危机，麦克尤恩利用《赎罪》中主要人物罗比的视角对敦刻尔克撤退的前线战场和后方医院进行重新塑造，以巴特诗学“悖论”消解了具有压制性、权威性的“常论”，反驳了历史的唯一性和不可阐释性观点；而《黑犬》则利用琼和伯纳德的多维视角和不可靠叙述手法，“客观地”展现了这对曾经相爱却不能相守的夫妇对他们共同经历的往事——“遭遇黑犬”的不同记忆，表明历史是“主观的、多维的”，因此也是可以给予阐释的。
实际上，反思历史必须查验理性和非理性，自由民主和独裁恐怖的对立和对抗，梳理近一个世纪以来人类在价值信仰上的纷杂。麦克尤恩在《黑犬》中刻画了琼的神秘主义和伯纳德的理性主义对立，表明在理性迷途的后现代语境下，信奉神秘主义也是对当下文明的一种深层思考，而作为艺术家，麦克尤恩通过人物境遇，对此危机开出的良方是“真爱”；在《星期六》中，麦克尤恩着眼当下危机，用乔伊斯式的心理描写刻画了自由世界在恐怖主义阴霾下，对生命价值的切身体会，对自由和民主权力的珍视，以及对以暴制暴悖论的深度思考，凸显了当代自由主义在恐怖威胁下的局限和无奈。
总之，总结一下麦克尤恩的艺术之路，我们不难发现，在他的各式主题小说中，或伦理禁忌，或家庭生活、政治话题和战争故事，他用艺术家敏锐的观察力和非凡的表现力，对英国甚至是欧洲的历史和当下危机做了或隐含或直接的表露。他关注人性，对罪与恶给予有力的批判和嘲讽，对真与善也予以含蓄的认同和褒奖，而对那些灰色地带更是进行了深刻的探讨；他也关注历史认识和宗教信仰，他深知理性与非理性，宏大叙事和“小历史”，自由主义和恐怖主义的纷繁嘈杂与莫衷一是，但他深刻而生动地再现了笼罩在这些复杂命题下的社会生活危机和人类生存危机。这一切都表明，麦克尤恩心存人文关怀，背负社会公义，继承英国小说伟大传统，是一位具有高度的艺术使命感和社会责任感的伟大小说家。
As a winner of almost all major English fiction awards, Ian McEwanhas established himself over the past30years as one of the mostinfluential figures in the contemporary British literary world. The1998Booker Prize for Amsterdam, with others, has gained him a reputation ofa great master of language. His skillful narrative techniques and uniquelyinsightful ethical understandings have made him “arguably the best livingBritish novelist”.
The early works of Ian McEwan, mainly short stories, arecharacterized with tabooed subjects like incest, murder, sexual violenceand behavior degeneration, for which he was once given the nickname ofMacabre Ian. His later works, primarily novels, however, have shownconsiderable changes in their themes, which turn to address more seriousissues such as family lives, moral and ethical vulnerabilities, historicalinterpretations and cultural conflicts and so on. Up to now, he hascomposed nine masterpieces one after another, which include Amsterdamand Atonement, and he has been acclaimed as England’s national author.Since the1990s, McEwan’s works have been much studied in literary criticism. From differing perspectives and in varying approaches:psychoanalysis and narrative desires, for instance, scholars have analyzedhis works in such aspects as narrative styles and the fictional themes,which range from love and sex, family ethics, war trauma, culturalanxiety to historical impacts. It is believed that McEwan’s fiction, imbuedwith narrative experimentation such as deliberate fragmentariness in plotarrangements, and intertextual allusions, ethical dilemmas, has brokenthrough the confines of the British Isles in story settings and shows astrong interest in more immediate past of England. Ian McEwan is arepresentative of British post-war generation novelists.
McEwan’s novels, indeed, are multidimensional with changing stylesover his long career, but retrospection of the British social reality after theSecond World War and perusal of the themes of his novels would lead usto the finding that CRISIS is the key word to the understandings ofBritish society and McEwan’s fiction. Readers can sort out in his mainnovels and short stories, at least, three types of crises: moral obligation,historical understandings and personal beliefs. Ian McEwan skillfullyemploys varying modern and post-modern narrative techniques to reveal, analyze and repudiate these crises from certain political, historical andphilosophic viewpoints.
Post-war U. K. witnessed the decline of its national strength, andsuffered the strikes of the ensuing economic crises in the inflicting socialturmoil. These changes caused failing of the traditional values anddrastically lowered the general moral standards of the whole society. Inhis short stories, McEwan reproduces the sexually violent and abnormalscenarios of the British60’s and70’s social and family life. With the helpof collage and juxtaposition and other narrative space techniques, readers,would vision immediately in his texts the loss of Victorian valuesconcerning love. In Amsterdam, a thought-provoking novel, he makesgood use of carefully-arranged plots, abundant intertextual references andcontroversial professional ethics to probe and satirize the dark side ofhumanity such as paralysis of integrity, friendship and loyalty. In anothermuch-acclaimed novel, Atonement, by means of meta-fiction andcharacter contrast, McEwan demonstrates the difficulty and rarity ofpost-modern way of self-atonement through narrating in particular socialand ethical circumstances. Atonement enriches the ethical dimensions of the atonement novels ever written. These two novels prove that McEwanis adept at connecting brilliantly the public events and private life; what ismore, the development and ending of the stories reveal a streak ofhelplessness which is caused by permeating hypocrisy, insincerity andinsanity throughout every corner of the United Kingdom.
The Twentieth Century was both an age of science and technology,and a time of massacre and concentration camps. As a result, the reviewand self-examination of the past century has been an important andpressing issue for the post-war intellectual communities. For the crisis ofhistorical understandings, McEewan reshapes the battleground and homefront of Dunkirk Evacuation from the perspective of Robbie Turner, theprotagonist of Atonement. On the basis of Roland Barthes’s the Doxa andthe Para-Doxa theory, McEwan deconstructs the suppressive andauthoritative discourse about Dunkirk Miracle through his poeticnarration, and refutes the definitive viewpoint that argues history isunique and uninterpretable. Whereas, in Black Dogs, by dint of unreliablenarration, McEwan tells readers articulately and objectively that Bernardand June, who are in love with each other but can not live together, have different memories of their shared history, namely, encounter of blackdogs from their own positions. Here McEwan wants to indicate thathistory is subjective and multi-dimensional, thus allows variedinterpretations.
As a matter of fact, an introspection of the past also needs to examinethe confusing conflicts in values and beliefs such as confrontationsbetween rationality and non-rationality, democracy and totalitarianism. InBlack Dogs, McEwan sets June’s mysticism against Bernard’s rationalism,indicating that embracement of mysticism is another way of thinking indepth of modern civilization under the circumstances where rationalismhas strayed in post-modern context. As an artist, McEwan makes aprescription of “true love” for the crisis through depicting personal lifeexperiences of characters in the novel. By contrast, in Saturday, McEwanfocuses on the contemporary crisis of the world, and he portrays the waythe free society experiences life, cherishes freedom and democracy, andreflects on the paradoxical view of violence against violence under thethreat of terrorism. The novel highlights the limitations and incapacitationof modern liberalism.
In short, the summary of McEwan’s writing career enables us tounderstand that in his works of different themes, either tabooed subjects,or family life, political topics and war stories, he reveals directly orindirectly the past and present crises of U. K. and even Europe, with hissingular artistic vision and extraordinary expressive force. He keeps awatchful eye on humanity, criticizing and ridiculing sins and evils,commending and praising implicitly truth and good, and exploring deeplythe gray areas of the innermost heart. He also pays close attention tohistorical interpretations and values and beliefs, with full understandingsof confusion and disagreements between rationalism and non-rationalism,grand narratives and “small histories”, liberalism and terrorism.Searchingly and vividly, McEwan, however, reconstructs these political,social and even survival crises in these complex propositions. All of theseshow that with an extremely high sense of artistic mission and socialresponsibility, McEewan always bears righteousness and humanistic carein his soul and carries forward the great tradition of British novels;therefore he indeed deserves the title of Britain’s national author.
引文
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