《收藏家》的互文性解读
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摘要
本文主要运用互文性理论来分析英国著名小说家约翰·福尔斯的小说《收藏家》与多个互文本之间的指涉关系，揭示出互文性阅读对丰富读者的阅读体验、加深对小说内涵的理解方面起到了重要作用。《收藏家》与莎士比亚的戏剧《暴风雨》互文性阅读，指出在文艺复兴时期莎士比亚描绘了美好的生活和充满人性的爱，在福尔斯所拟仿的文本中却消失不见，取而代之的是冷漠的、压抑的人性和不尽人意的后现代生活。对纳博科夫的《洛丽塔》和《收藏家》的互文性解读，指出“亨博特”对少女“洛丽塔”的疯狂占有和“克莱格”对女大学生“米兰达”从迷恋到囚禁的故事如出一辙，两人都是对女性的物化和对人性摧残。本文进而研究《收藏家》文本内部的互文本，即克莱格的叙述和米兰达的日记所形成的互文性，得出两人都被自己对传统的教条主义的理解所束缚，无法获得自由。同时指出福尔斯对双重叙述手段的高超运用，使作者和读者都从权威叙事的传统中解放出来。最后本文阐述了小说与弗洛伊德心理主义的互文性和福尔斯对精神分析的巨大贡献—提出了“逆某”的理论，从而加深了我们对《收藏家》主要人物的理解。本文得出结论，运用互文性的理论解读小说《收藏家》，可以使读者挖掘出更多的互文本，从而扩大了我们对小说人物的解读和对主题的理解，加深了小说的社会价值和审美价值。
This thesis mainly uses the theory of intertextuality to interpret the famous English novelist John Fowles's The Collector. Through analyzing the referential relations between the novel and its diverse intertexts, the thesis intends to explain that the theory of intertextuality, as a means for literature interpretation, has played an important role in enriching reading experiences and deepening the appreciation of the novel. The intertextual reading of The Collector with Shakespeare's The Tempest reveals that the beautiful life and human love are disappeared in Fowles's text, which depicts the suppressed human nature and dissatisfying postmodern life. The intertextuality of Nabokov's Lolita and The Collector shows that Humbert's crazy possession of the nymphet Lolita is similar with Clegg's fascination to Miranda and imprisonment of her. Both of them show the objectification and dehumanization of women. Clegg's narration and Miranda's diary form a distinct intertextual relationship. The analysis of the two narratives' intertextuality indicates that both Clegg and Miranda are restrained and imprisoned by their dogmatic understanding and abidance of the traditional values. Meanwhile, Fowles's superior handling of the double perspective liberates both the author and the reader from the authoritative narrative tradition. The intertextual reading of Freudian psychoanalysis and Fowles's contribution to psychological analysis by the concept "the nemo" make the interpretation of the main characters colorful and profound. The thesis gets the conclusion that by exploring more intertexts of the present novel, the intertextual interpretation will enrich readers' understanding of the main characters and the diverse themes of the novel, and also deepen the novel's social significance and aesthetic values.
This thesis mainly uses the theory of intertextuality to interpret the famous English novelist John Fowles's The Collector. Through analyzing the referential relations between the novel and its diverse intertexts, the thesis intends to explain that the theory of intertextuality, as a means for literature interpretation, has played an important role in enriching reading experiences and deepening the appreciation of the novel. The intertextual reading of The Collector with Shakespeare's The Tempest reveals that the beautiful life and human love are disappeared in Fowles's text, which depicts the suppressed human nature and dissatisfying postmodern life. The intertextuality of Nabokov's Lolita and The Collector shows that Humbert's crazy possession of the nymphet Lolita is similar with Clegg's fascination to Miranda and imprisonment of her. Both of them show the objectification and dehumanization of women. Clegg's narration and Miranda's diary form a distinct intertextual relationship. The analysis of the two narratives' intertextuality indicates that both Clegg and Miranda are restrained and imprisoned by their dogmatic understanding and abidance of the traditional values. Meanwhile, Fowles's superior handling of the double perspective liberates both the author and the reader from the authoritative narrative tradition. The intertextual reading of Freudian psychoanalysis and Fowles's contribution to psychological analysis by the concept "the nemo" make the interpretation of the main characters colorful and profound. The thesis gets the conclusion that by exploring more intertexts of the present novel, the intertextual interpretation will enrich readers' understanding of the main characters and the diverse themes of the novel, and also deepen the novel's social significance and aesthetic values.
引文
All the citations from the The Collector comes from John Fowles, The Collector, St Albans:Triad/Panther Books, 1976. The numerals in round brackets in this thesis indicate the numberedpages of The Collector.
1. John Fowles: A Life in Two Worlds - The Definitive Fowles Biographyhttp://www, fowlesbooks.com/biography2.htm
2. For more details and further study see California Literary Review, "The Butterfly Effect",available on http://www.calitreview.com/Reviews/collector_071.htm
3. John Fowles: A Life in Two Worlds - "The Definitive Fowles Biography",http://www.fowlesbooks.com/biography2.htm
4. "John Fowles(1926-2005)", http://www.fowlesbooks.com/twonew.htm
5. For further reading please refer to Perry Nodelman, "John Fowles's Variation in TheCollector", Contemporary Literature, Vol. 28, No. 3, Autumn, 1987.
6. Further reading please refer to Susana Onega, "Self, World, and Art in the Fiction of JohnFowles", Twentieth Century Literature, Vol. 42, No. 1, John Fowles Issue, Spring, 1996
7. According to Study of Intertextuality, trans. Shaowei, Tianjin People's Publishing House, 2003,P. 19, the texts which are intertextual with each other are named as "intertexts". Some Chinesestudies also name the intertexts as "pretexts" (See "An Intertextual Reading of Small World",Master thesis by Yin Yali, Lanzhou University, 2006)
8. T. S. Eliot, "Tradition and the Individual Talent", in 20th Century Literary Criticism: A Reader,ed., David Lodge (London: Langman, 1972) P71.
9. Roland Barthes, quotated in Roland A Champagne. "The Writer within the Intertext", inIntertextuality: New Perspectives in Criticism. ed Jeanine Plottel and Hanna Charney, P.129
10. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), 146,citing Roman Liptak, "Coming to Terms with Intertxtuality:. Methodology behind BiblicalCriticism Past and Present." (Master. diss., University of Pretoria. 2004), P. 10.
11. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), P.160,citing Graham Allen, Intertextuality (London and New York: Routledge, 2000), P. 69
12．见蒂费纳·萨莫瓦约著，邵伟译：《互文性研究》，天津人民出版社，2003，P．18。
13. Gerard Genette, Palimpsests: Literature in the Second Degree, Channa Newman and Claud Doubinsky trans., Lincoln NE and London: University of Nebraska Press, 1997, P5; cited from Wangjin, Intertextuality, Guangxi Normal University Publishing House, 2005, P117.
14. For a more detailed discussion one can refers to On Deconstruction by Jonathan Culler. PP. 35-43
15. Roland Barthes, quoted in Jonathan Culler. On Deconstruction. Ithaca: Cornell University Press, 1982. P. 31.
16. ibid.
17．Roland Barthes．"The Death of the Auther"见《二十世纪西方文论选读》张中载等编，北京：外语教学与研究出版社，2002，P．344．
18. ibid, P.345.
19. Barthes, Roland. "The Death of the Author" [A]. Modern Criticism and Theory, [C]. New York: Longman, 1988. cited from "Reading Lord of the Flies In the Light of Intertextuality" (Master thesis), Zhang Wenjuan, Central China Normal University, 2004.
20. According to Genette (Palimpsests: Literature in the Second Degree, Channa Newman and Claud Doubinsky trans., Lincoln NE and London: University of Nebraska Press, 1997), quotation means the direct citing of words, phrase, sentences, paragraphs, etc, usually with an acknowledgment of the source. Plagiarism is a kind of quotation without any label or quotation marks for the original texts or writers. Reference is a kind of citing which is not word for word but explicit. Sometimes a book's title or writer's name, character's name which is already known to readers, appearing in the present text all belong to reference.
21. Lines from The Tempest, I, ii, 345-348, quoted from Victor L. Cahn, Shakespeare The Playwright, Greenwood Press, New York, 1991. P807.
22. Critical essay by influential Shakespeare scholar and commentator William Hazlitt, discussing all you need to know on the characters of The Tempest. http://absoluteshakespeare.com/guides/tempest/tempest.htm
23. See more details from http://www.theatrehistory.com/british/tempest001.html
24. Although John Fowles does not give any reason for Clegg has read Shakespeare's play The Tempest, he articulates this coincidence from the mouth of Clegg. It is rather a designed allusion to The Tempest showing to the reader than a careless error made by the author. (by the author of the thesis)
25. See from the internet for more detail, http://www.sparknotes.corn/shakespeare/tempest/
26. ibid.
27. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), 146, Cited from Roman Liptak, "Coming to Terms with Intertxtuality: Methodology behind Biblical Criticism Past and Present." (Master. diss., University of Pretoria. 2004), 10.
28. Quoted from Yin Yali, "An Intertextual Reading of Small World" (Master thesis of Lanzhou University), 2006. P.53.
29. see note 19.
30. Alfred Appel, Jr. "Notes", in The Annotated Lolita. Vladimir Nabocov. P.339
31. "As Uncaring as a Butterfly", available on http://www.khandro.net/animal_butterfly.htm
32. The princess or "beautiful lady" -incarnation of inspiration and spiritual fulfillment (cf. the Jungian anima), from Wilfred L. Guerin, Earle Labor, Lee Morgan, Jeanne C. Reesrnan, John R. Willingharn, A Handbook of Critical Approaches to Literature, Foreign Language Teaching and Research Press, 2004. P. 163.
33. Associated with warmth, protection, growth, abundance; from Wilfred L. Guerin, Earle Labor, Lee Morgan, Jeanne C. Reesman, John R. Willingham, A Handbook of Critical Approaches to Literature, Foreign Language Teaching and Research Press, 2004. P. 163.
34. Patricia V. Beatty, "John Fowles' Clegg: Captive Landlord of Eden," Ariel: A Review of International English Literature 13, no, 3(1982): 76. cited from Mahmoud Salami, John Fowles "s Ficition and the Poetics of Postmodernism, Associated University Presses, Inc. 1992, P.55
35. Also the savior: personification of the spiritual principle, representing "knowledge, reflection, insight, wisdom, cheverness, and intuition on the one hand, and on the other, moral qualities such as goodwill and readiness to help.... Apart from his cleverness, wisdom, and insight, the old man... is also notable for his moral qualities; cited from from Wilfred L. Guerin, Earle Labor, Lee Morgan, Jeanne C. Reesman, John R. Willingham, A Handbook of Critical Approaches to Literature, Foreign Language Teaching and Research Press, 2004. P. 163
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1. John Fowles: A Life in Two Worlds - The Definitive Fowles Biographyhttp://www, fowlesbooks.com/biography2.htm
2. For more details and further study see California Literary Review, "The Butterfly Effect",available on http://www.calitreview.com/Reviews/collector_071.htm
3. John Fowles: A Life in Two Worlds - "The Definitive Fowles Biography",http://www.fowlesbooks.com/biography2.htm
4. "John Fowles(1926-2005)", http://www.fowlesbooks.com/twonew.htm
5. For further reading please refer to Perry Nodelman, "John Fowles's Variation in TheCollector", Contemporary Literature, Vol. 28, No. 3, Autumn, 1987.
6. Further reading please refer to Susana Onega, "Self, World, and Art in the Fiction of JohnFowles", Twentieth Century Literature, Vol. 42, No. 1, John Fowles Issue, Spring, 1996
7. According to Study of Intertextuality, trans. Shaowei, Tianjin People's Publishing House, 2003,P. 19, the texts which are intertextual with each other are named as "intertexts". Some Chinesestudies also name the intertexts as "pretexts" (See "An Intertextual Reading of Small World",Master thesis by Yin Yali, Lanzhou University, 2006)
8. T. S. Eliot, "Tradition and the Individual Talent", in 20th Century Literary Criticism: A Reader,ed., David Lodge (London: Langman, 1972) P71.
9. Roland Barthes, quotated in Roland A Champagne. "The Writer within the Intertext", inIntertextuality: New Perspectives in Criticism. ed Jeanine Plottel and Hanna Charney, P.129
10. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), 146,citing Roman Liptak, "Coming to Terms with Intertxtuality:. Methodology behind BiblicalCriticism Past and Present." (Master. diss., University of Pretoria. 2004), P. 10.
11. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), P.160,citing Graham Allen, Intertextuality (London and New York: Routledge, 2000), P. 69
12．见蒂费纳·萨莫瓦约著，邵伟译：《互文性研究》，天津人民出版社，2003，P．18。
13. Gerard Genette, Palimpsests: Literature in the Second Degree, Channa Newman and Claud Doubinsky trans., Lincoln NE and London: University of Nebraska Press, 1997, P5; cited from Wangjin, Intertextuality, Guangxi Normal University Publishing House, 2005, P117.
14. For a more detailed discussion one can refers to On Deconstruction by Jonathan Culler. PP. 35-43
15. Roland Barthes, quoted in Jonathan Culler. On Deconstruction. Ithaca: Cornell University Press, 1982. P. 31.
16. ibid.
17．Roland Barthes．"The Death of the Auther"见《二十世纪西方文论选读》张中载等编，北京：外语教学与研究出版社，2002，P．344．
18. ibid, P.345.
19. Barthes, Roland. "The Death of the Author" [A]. Modern Criticism and Theory, [C]. New York: Longman, 1988. cited from "Reading Lord of the Flies In the Light of Intertextuality" (Master thesis), Zhang Wenjuan, Central China Normal University, 2004.
20. According to Genette (Palimpsests: Literature in the Second Degree, Channa Newman and Claud Doubinsky trans., Lincoln NE and London: University of Nebraska Press, 1997), quotation means the direct citing of words, phrase, sentences, paragraphs, etc, usually with an acknowledgment of the source. Plagiarism is a kind of quotation without any label or quotation marks for the original texts or writers. Reference is a kind of citing which is not word for word but explicit. Sometimes a book's title or writer's name, character's name which is already known to readers, appearing in the present text all belong to reference.
21. Lines from The Tempest, I, ii, 345-348, quoted from Victor L. Cahn, Shakespeare The Playwright, Greenwood Press, New York, 1991. P807.
22. Critical essay by influential Shakespeare scholar and commentator William Hazlitt, discussing all you need to know on the characters of The Tempest. http://absoluteshakespeare.com/guides/tempest/tempest.htm
23. See more details from http://www.theatrehistory.com/british/tempest001.html
24. Although John Fowles does not give any reason for Clegg has read Shakespeare's play The Tempest, he articulates this coincidence from the mouth of Clegg. It is rather a designed allusion to The Tempest showing to the reader than a careless error made by the author. (by the author of the thesis)
25. See from the internet for more detail, http://www.sparknotes.corn/shakespeare/tempest/
26. ibid.
27. Roland Barthes, Image-Music-Text, trans. Stephen Heath (London: Fontana, 1977), 146, Cited from Roman Liptak, "Coming to Terms with Intertxtuality: Methodology behind Biblical Criticism Past and Present." (Master. diss., University of Pretoria. 2004), 10.
28. Quoted from Yin Yali, "An Intertextual Reading of Small World" (Master thesis of Lanzhou University), 2006. P.53.
29. see note 19.
30. Alfred Appel, Jr. "Notes", in The Annotated Lolita. Vladimir Nabocov. P.339
31. "As Uncaring as a Butterfly", available on http://www.khandro.net/animal_butterfly.htm
32. The princess or "beautiful lady" -incarnation of inspiration and spiritual fulfillment (cf. the Jungian anima), from Wilfred L. Guerin, Earle Labor, Lee Morgan, Jeanne C. Reesrnan, John R. Willingharn, A Handbook of Critical Approaches to Literature, Foreign Language Teaching and Research Press, 2004. P. 163.
33. Associated with warmth, protection, growth, abundance; from Wilfred L. Guerin, Earle Labor, Lee Morgan, Jeanne C. Reesman, John R. Willingham, A Handbook of Critical Approaches to Literature, Foreign Language Teaching and Research Press, 2004. P. 163.
34. Patricia V. Beatty, "John Fowles' Clegg: Captive Landlord of Eden," Ariel: A Review of International English Literature 13, no, 3(1982): 76. cited from Mahmoud Salami, John Fowles "s Ficition and the Poetics of Postmodernism, Associated University Presses, Inc. 1992, P.55
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