托马斯·品钦小说叙事迷宫
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摘要
托马斯·品钦是一位后现代主义小说的代表作家。自1963年以来，他创作了七部长篇小说，如《万有引力之虹》等，另外还著有一部短篇小说集。品钦的小说构思奇特，具有神秘的都市亚文化色彩，主题思想深刻复杂，内容庞杂，涉及政治、历史、文化、科学等诸多领域，人物众多且言行荒诞，叙事话语晦涩难懂而不失幽默。这些小说揭示了一个不断走向堕落、熵化，充满不确定性、没有终极意义的后现代社会。品钦在文学创作领域的杰出贡献为他屡次赢得诺贝尔奖提名的殊荣，并多次获全美图书奖等各种奖项。
品钦的每一部小说都会在美国文坛引起不同程度的轰动，而批评界对其作品的整体评价和诠释也一直处于多样化和发展变化之中。近些年来，从叙事学角度对品钦小说的研究引起了评论界的关注，已有部分批评文章关注到品钦小说的迷宫特征，但这些论述主要集中在或仅限于小说的内容和部分话语技巧上。目前，从叙事结构、人物塑造和叙事话语的角度对品钦小说的叙事迷宫进行系统研究的并不多见。
基于以上认识，本论文以品钦的前三部小说为主要论述对象，探索作品中的叙事迷宫。“叙事迷宫”是指品钦三部小说在叙事结构、人物塑造和叙事话语上表现出来的高度复杂性。本文运用经典叙事学和后现代叙事理论来分析品钦小说中的三重“迷宫”：叙事结构迷宫、人物塑造迷宫、叙事话语迷宫。本文作者认为，三部作品中每一部的叙事元素都带有“迷宫”的特征。第一层迷宫就是叙事结构迷宫，首先表现在层层镶嵌、不断切换的多层叙事结构；其次表现在结尾开放、情节并置、结构和主题不断重复的开放性叙事结构。这种文本叙事结构的复杂性，导致读者的理解障碍，从而充分体现了品钦力图使读者感到阅读困难的创作原则。第二层迷宫是人物塑造的迷宫：本文作者首先分析了品钦小说中人物的特点和小说人物塑造的不确定性和开放性基本原则。其次分析了品钦小说人物塑造的手段。品钦人物塑造的方法复杂多样，主要通过戏仿和反讽手段塑造反英雄人物；运用空间叙事预示人物的命运揭示人物的心理活动；利用外部特征和言行描写揭示物化、异化的人。既运用现代主义、后现代小说人物塑造的方法，又继承传统小说人物塑造的方法，这些方法相互映衬，构成了人物塑造的迷宫。第三个迷宫是叙事话语的迷宫。叙事话语迷宫主要指品钦小说叙事话语的互文性和陌生化。互文性体现在品钦小说叙事话语与欧洲、美国经典文学作品、品钦自身作品以及非文学领域的叙事话语之间存在的各种联系。陌生化体现在品钦小说中独特的语言、修辞和多种叙事技巧的运用。互文性使品钦小说成为各种叙事话语交织的超文本互文体系，体现了品钦对传统叙事话语的继承与创新。陌生化使叙事话语产生了新奇、陌生的特质，增加了读者对其感悟的难度。
本论文主要借鉴经典叙事理论和后现代叙事等相关理论，采用定性、定量和文本分析相结合的研究方法。定性和定量的研究方法主要用于文献回顾和分类。文本分析的方法主要用于论文本论部分，据此探析品钦小说中叙事结构、人物塑造、叙事话语三个方面的叙事迷宫。
本论文的创新之处在于围绕“叙事迷宫”这个核心概念，展开对品钦小说的文本细读与分析。首先，对经典叙事和后现代叙事的相关理论进行梳理，并提出自己的看法。本文作者认为，品钦小说文本结构中存在两种主要叙事结构：多层叙事结构和开放性叙事结构，二者各具其叙事功能。多层叙事结构增加了小说的神秘性，化解了叙事的可靠性与稳定性。开放性叙事结构打破了传统的线性叙事，增加了叙事的不确定性。其次，在人物塑造上，品钦除了采用戏仿与反讽的手法揭示人物的荒诞性、偏执狂性和虚幻性，还利用空间叙事揭示人物的悲剧命运和扭曲的性格，同时，运用传统的外部特征和言行描写来揭示人物的物化与异化，这些手法的综合运用旨在塑造不确定的人，最终体现了品钦不确定性的写作原则。最后，本文作者认为，叙事结构迷宫和人物塑造迷宫建立在叙事话语迷宫的基础之上。品钦小说之所以晦涩难懂，其主要原因在于叙事话语迷宫。而叙事话语迷宫体现在叙事话语的互文性和陌生化上。品钦的叙事话语与经典文学话语、非文学领域的叙事话语形成了强大的超文本互文体系，再加上品钦叙事话语在语言、修辞和叙事技巧上的陌生化，使品钦小说成为百科全书式的叙事迷宫。总之，叙事结构、人物塑造和叙事话语的复杂性构筑了品钦小说难以穿行的三重叙事迷宫。“迷宫”这一特征体不仅现了品钦对传统小说叙事模式的颠覆和创新，而且成为品钦叙事创作和吸引读者参与文本构建的主要艺术手段。“迷宫”凸显出的艺术效果主要在于品钦写作的自省性，以及对读者参与诠释作品积极性的调动上。其目的是让人物与读者坠入结构与意义的双重的迷宫之中，从而体现后现代写作的虚构性和世界的无意义。
Thomas Pynchon (1937-), American postmodern writer, has published seven fictionsand a collection of short stories since1963among which The Gravity’s Rainbow is themost well-known. He distinguishes himself by his fiction of weird structure and mysteriousmeta-culture features in metropolis and of various complex themes. The story of his fictionis very complicated involving politics, history, culture and science etc.. The narrativediscourse is obscure, hard to understand, but very humorous. These fictions not onlyillustrate the story of many postmodern men who live in both the past and the present, thereal and the fictive, but also reveal an uncertain and meaningless postmodern society whichgradually turns into decadence and entropy. Thomas Pynchon’s great contribution toliterature has won him many honors.
Because of great works and his unique insights, Pynchon has been studied by manyscholars with essays and books on his works. Generally speaking, the main stream ofcriticism on Thomas Pynchon has developed from single-perspective-orientation tomulti-perspectives-orientation. In recent years, narrative approach invites critical attention,among which there are some essays and monographs on labyrinth narrative of Pynchon’sfiction, but few articles have approached Pynchon from narrative structure, characterizationand narrative discourse systemically.
This dissertation “The Narrative Labyrinths in Thomas Pynchon’s Fiction——takingV., The Crying of Lot49and Gravity’s Rainbow as examples” explores narrative labyrinthin Pynchon’s fictions. Labyrinth refers to the complexity of narrative structure,characterization and narrative discourse. Based on the theories of Classical and PostmodernNarratologies, this dissertation mainly focuses on analysis of three labyrinths in Pynchon’sfictions: labyrinth of narrative structure, labyrinth of characterization and labyrinth ofnarrative discourse. Labyrinth of narrative structure includes multi-level narrative structureand open-ended narrative structure. Multi-level narrative structure refers to embeddednarrative structure and switching narrative structure. Open-ended narrative structure refersto an open ending, plot juxtaposition, repetition of main structure and theme. The two kinds of structure constitute a mysterious, indeterminate and ambiguous labyrinth which is hardfor the reader to go through.
The second is labyrinth of characterization. First, the dissertation analyses thefeatures of Pynchon’s characters and illustrates indeterminacy and open-ended principles ofcharacterization. Second, it explores the strategies of characterization on three aspects:absurd, paranoid and illusive antiheroes through parody and irony; tragic destiny anddistorted inner world of characters through spatial narrative; materialized and alienatedcharacters through external appearance, speech and action depiction. These strategies forma labyrinth of characterization and aim to create helpless, indeterminate postmodern men.
The third is labyrinth of narrative discourse illustrated by discourse intertextualityand defamiliarization. Intertextuality of Pynchon’s narrative discourse falls on three aspects:intertextuality between Pynchon’s discourse and European, American literary works’, hisown works’, as well as non-literary fields’ discourses, including artistic and scientificdiscourses. Defamiliarization of Pynchon’s discourse involves two aspects: language andnarrative techniques. Defamiliarization of language includes strange rhetoric, use ofvarious languages, signs and words play. Defamiliarization of narrative techniques mainlyincludes: collage and pastiche, labyrinth and ambiguity, meta-narrative etc.. Intertextualityand defamiliarization together make Pynchon’s fiction an encyclopedic labyrinth.
From the perspective of theory of classical Narratologies and postmodernNarratologies, Pynchon’s postmodern labyrinth embodies great breakthrough andinnovation of narrative strategies against realism and modernism literature. It also becomesan important artistic technique of Pynchon’s writing which attracts readers to participate inreconstructing text. The conclusion indicates that the artistic effect of labyrinth comes fromintrospection of Pynchon’s fiction and mobilization of readers’ active participation andinterpretation. The strategy aims to put the readers into the double labyrinths of structureand meaning so as to reveal the fictionality of postmodern works and insignificance of theworld.
品钦的每一部小说都会在美国文坛引起不同程度的轰动，而批评界对其作品的整体评价和诠释也一直处于多样化和发展变化之中。近些年来，从叙事学角度对品钦小说的研究引起了评论界的关注，已有部分批评文章关注到品钦小说的迷宫特征，但这些论述主要集中在或仅限于小说的内容和部分话语技巧上。目前，从叙事结构、人物塑造和叙事话语的角度对品钦小说的叙事迷宫进行系统研究的并不多见。
基于以上认识，本论文以品钦的前三部小说为主要论述对象，探索作品中的叙事迷宫。“叙事迷宫”是指品钦三部小说在叙事结构、人物塑造和叙事话语上表现出来的高度复杂性。本文运用经典叙事学和后现代叙事理论来分析品钦小说中的三重“迷宫”：叙事结构迷宫、人物塑造迷宫、叙事话语迷宫。本文作者认为，三部作品中每一部的叙事元素都带有“迷宫”的特征。第一层迷宫就是叙事结构迷宫，首先表现在层层镶嵌、不断切换的多层叙事结构；其次表现在结尾开放、情节并置、结构和主题不断重复的开放性叙事结构。这种文本叙事结构的复杂性，导致读者的理解障碍，从而充分体现了品钦力图使读者感到阅读困难的创作原则。第二层迷宫是人物塑造的迷宫：本文作者首先分析了品钦小说中人物的特点和小说人物塑造的不确定性和开放性基本原则。其次分析了品钦小说人物塑造的手段。品钦人物塑造的方法复杂多样，主要通过戏仿和反讽手段塑造反英雄人物；运用空间叙事预示人物的命运揭示人物的心理活动；利用外部特征和言行描写揭示物化、异化的人。既运用现代主义、后现代小说人物塑造的方法，又继承传统小说人物塑造的方法，这些方法相互映衬，构成了人物塑造的迷宫。第三个迷宫是叙事话语的迷宫。叙事话语迷宫主要指品钦小说叙事话语的互文性和陌生化。互文性体现在品钦小说叙事话语与欧洲、美国经典文学作品、品钦自身作品以及非文学领域的叙事话语之间存在的各种联系。陌生化体现在品钦小说中独特的语言、修辞和多种叙事技巧的运用。互文性使品钦小说成为各种叙事话语交织的超文本互文体系，体现了品钦对传统叙事话语的继承与创新。陌生化使叙事话语产生了新奇、陌生的特质，增加了读者对其感悟的难度。
本论文主要借鉴经典叙事理论和后现代叙事等相关理论，采用定性、定量和文本分析相结合的研究方法。定性和定量的研究方法主要用于文献回顾和分类。文本分析的方法主要用于论文本论部分，据此探析品钦小说中叙事结构、人物塑造、叙事话语三个方面的叙事迷宫。
本论文的创新之处在于围绕“叙事迷宫”这个核心概念，展开对品钦小说的文本细读与分析。首先，对经典叙事和后现代叙事的相关理论进行梳理，并提出自己的看法。本文作者认为，品钦小说文本结构中存在两种主要叙事结构：多层叙事结构和开放性叙事结构，二者各具其叙事功能。多层叙事结构增加了小说的神秘性，化解了叙事的可靠性与稳定性。开放性叙事结构打破了传统的线性叙事，增加了叙事的不确定性。其次，在人物塑造上，品钦除了采用戏仿与反讽的手法揭示人物的荒诞性、偏执狂性和虚幻性，还利用空间叙事揭示人物的悲剧命运和扭曲的性格，同时，运用传统的外部特征和言行描写来揭示人物的物化与异化，这些手法的综合运用旨在塑造不确定的人，最终体现了品钦不确定性的写作原则。最后，本文作者认为，叙事结构迷宫和人物塑造迷宫建立在叙事话语迷宫的基础之上。品钦小说之所以晦涩难懂，其主要原因在于叙事话语迷宫。而叙事话语迷宫体现在叙事话语的互文性和陌生化上。品钦的叙事话语与经典文学话语、非文学领域的叙事话语形成了强大的超文本互文体系，再加上品钦叙事话语在语言、修辞和叙事技巧上的陌生化，使品钦小说成为百科全书式的叙事迷宫。总之，叙事结构、人物塑造和叙事话语的复杂性构筑了品钦小说难以穿行的三重叙事迷宫。“迷宫”这一特征体不仅现了品钦对传统小说叙事模式的颠覆和创新，而且成为品钦叙事创作和吸引读者参与文本构建的主要艺术手段。“迷宫”凸显出的艺术效果主要在于品钦写作的自省性，以及对读者参与诠释作品积极性的调动上。其目的是让人物与读者坠入结构与意义的双重的迷宫之中，从而体现后现代写作的虚构性和世界的无意义。
Thomas Pynchon (1937-), American postmodern writer, has published seven fictionsand a collection of short stories since1963among which The Gravity’s Rainbow is themost well-known. He distinguishes himself by his fiction of weird structure and mysteriousmeta-culture features in metropolis and of various complex themes. The story of his fictionis very complicated involving politics, history, culture and science etc.. The narrativediscourse is obscure, hard to understand, but very humorous. These fictions not onlyillustrate the story of many postmodern men who live in both the past and the present, thereal and the fictive, but also reveal an uncertain and meaningless postmodern society whichgradually turns into decadence and entropy. Thomas Pynchon’s great contribution toliterature has won him many honors.
Because of great works and his unique insights, Pynchon has been studied by manyscholars with essays and books on his works. Generally speaking, the main stream ofcriticism on Thomas Pynchon has developed from single-perspective-orientation tomulti-perspectives-orientation. In recent years, narrative approach invites critical attention,among which there are some essays and monographs on labyrinth narrative of Pynchon’sfiction, but few articles have approached Pynchon from narrative structure, characterizationand narrative discourse systemically.
This dissertation “The Narrative Labyrinths in Thomas Pynchon’s Fiction——takingV., The Crying of Lot49and Gravity’s Rainbow as examples” explores narrative labyrinthin Pynchon’s fictions. Labyrinth refers to the complexity of narrative structure,characterization and narrative discourse. Based on the theories of Classical and PostmodernNarratologies, this dissertation mainly focuses on analysis of three labyrinths in Pynchon’sfictions: labyrinth of narrative structure, labyrinth of characterization and labyrinth ofnarrative discourse. Labyrinth of narrative structure includes multi-level narrative structureand open-ended narrative structure. Multi-level narrative structure refers to embeddednarrative structure and switching narrative structure. Open-ended narrative structure refersto an open ending, plot juxtaposition, repetition of main structure and theme. The two kinds of structure constitute a mysterious, indeterminate and ambiguous labyrinth which is hardfor the reader to go through.
The second is labyrinth of characterization. First, the dissertation analyses thefeatures of Pynchon’s characters and illustrates indeterminacy and open-ended principles ofcharacterization. Second, it explores the strategies of characterization on three aspects:absurd, paranoid and illusive antiheroes through parody and irony; tragic destiny anddistorted inner world of characters through spatial narrative; materialized and alienatedcharacters through external appearance, speech and action depiction. These strategies forma labyrinth of characterization and aim to create helpless, indeterminate postmodern men.
The third is labyrinth of narrative discourse illustrated by discourse intertextualityand defamiliarization. Intertextuality of Pynchon’s narrative discourse falls on three aspects:intertextuality between Pynchon’s discourse and European, American literary works’, hisown works’, as well as non-literary fields’ discourses, including artistic and scientificdiscourses. Defamiliarization of Pynchon’s discourse involves two aspects: language andnarrative techniques. Defamiliarization of language includes strange rhetoric, use ofvarious languages, signs and words play. Defamiliarization of narrative techniques mainlyincludes: collage and pastiche, labyrinth and ambiguity, meta-narrative etc.. Intertextualityand defamiliarization together make Pynchon’s fiction an encyclopedic labyrinth.
From the perspective of theory of classical Narratologies and postmodernNarratologies, Pynchon’s postmodern labyrinth embodies great breakthrough andinnovation of narrative strategies against realism and modernism literature. It also becomesan important artistic technique of Pynchon’s writing which attracts readers to participate inreconstructing text. The conclusion indicates that the artistic effect of labyrinth comes fromintrospection of Pynchon’s fiction and mobilization of readers’ active participation andinterpretation. The strategy aims to put the readers into the double labyrinths of structureand meaning so as to reveal the fictionality of postmodern works and insignificance of theworld.
引文
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