对伊恩·麦克尤恩小说《赎罪》的元小说特征研究
摘要
伊恩·麦克尤恩(1948-)是当前英国文坛最具影响力的作家之一。《赎罪》作为一部典型的忏悔小说奠定了作者伊恩·麦克尤恩在英国后现代文学领域中的重要地位。自从二零零一年出版以来,小说《赎罪》一直受到来自文学界许多学者的广泛关注,他们分别从不同角度对小说加以评论。尽管曾有批评家提及到《赎罪》中的一些元小说特征,但仍需要对其进行更加深入全面的研究。
鉴于此,本文试图相对深入地从元小说理论角度来研究《赎罪》中所运用的叙事技巧与写作策略。元小说是在写作过程中自我揭露小说写作技巧,暴露小说虚构幻想的一种后现代小说模式。在对《赎罪》进行一定量的文本分析和元小说理论研读的基础之上,本文旨在阐释小说《赎罪》在写作策略中所体现出来的一些元小说特征,包括：自反性,互文性以及时空的碎片拼贴。
《赎罪》的开放式结尾以及小说文本的批评功能暴露了小说的虚构过程,揭示了小说在创作过程中所体现出的“自反性”特征。通过与《赎罪》文本之外作品的外互文性以及文本内部各个故事之间的内互文性特征研究,本文试图说明,在小说中,真实与虚构之间的界限是模糊的抑或是不存在的。元小说式的写作手法一时空碎片拼贴在《赎罪》叙事中的运用颠覆了传统小说艺术原有的模式和规范,体现出伊恩·麦克尤恩极具特色的后现代主义小说写作模式。此外,作者试图对伊恩·麦克尤恩构建小说女主人公布里欧尼终生赎罪情节的目的加以探讨,揭示了麦克尤恩在后现代主义小说写作上所采取的现实与虚构相结合的策略。
本篇论文研究结果表明：《赎罪》是一部具有明显元小说特征的后现代主义小说。通过暴露其创作过程,这部小说在写作方法上破坏了虚伪的现实,超越了虚构与非虚构,艺术与生活,小说与文学批评之间的界限。
Ian McEwan (1948-) is one of the most influential ones among the contemporary British writers. Atonement, as an unusual case of confessional fiction, has established Ian McEwan's position in the field of British postmodern literature. Since it's publication in 2001, Atonement has been widely analyzed and commented on from different perspectives. Although some critics have noticed some of the metafictional features in the novel, a deeper and more thorough study of the metafictional features of the novel is still needed.
In view of this, the thesis attempts to make a deeper study of the narrative techniques and writing strategies in Atonement from the perspective of metafictional theories. Metafiction is a mode of postmodern fictions that self-consciously addresses the devices of fiction, exposing the fictional illusions in its writing process. Based on substantial textual analysis and studies of the metafictional theories, the thesis aims to demonstrate the metafictional features Atonement presents us, such as, self-consciousness, inter-textuality and collages of time and space.
The open end of Atonement and the critical function of the text suggest the exposure of the fictive writing process of the novel and reflect the metafictional feature of self-consciousness. Through studies on the extra-textual relationship with texts outside the novel of Atonement and intra-textual relationship with stories within the text of the novel, the thesis attempts to reveal that the relationship between fiction and reality in the novel is blurred or even does not exist. The application of the metafictional writing strategy of the collages of time and space in the narration of Atonement subverts the writing mode of the traditional novels, and which precisely reflect the unique features of Ian McEwan's postmodern writing methodologies. Besides, by examining Ian McEwan's purpose of writing about Briony's ever-lasting atonement just for her fancy misinterpretation, the thesis discloses the combination of reality and fiction in Ian McEwan's writing strategies.
Research result of the thesis testifies that Atonement is a postmodern novel with typical metafictional features. This novel, by exposing its writing process, destroys the hypocritical realities and transcends boundaries between fiction and non-fiction, art and life, fiction and literary criticisms.
鉴于此,本文试图相对深入地从元小说理论角度来研究《赎罪》中所运用的叙事技巧与写作策略。元小说是在写作过程中自我揭露小说写作技巧,暴露小说虚构幻想的一种后现代小说模式。在对《赎罪》进行一定量的文本分析和元小说理论研读的基础之上,本文旨在阐释小说《赎罪》在写作策略中所体现出来的一些元小说特征,包括：自反性,互文性以及时空的碎片拼贴。
《赎罪》的开放式结尾以及小说文本的批评功能暴露了小说的虚构过程,揭示了小说在创作过程中所体现出的“自反性”特征。通过与《赎罪》文本之外作品的外互文性以及文本内部各个故事之间的内互文性特征研究,本文试图说明,在小说中,真实与虚构之间的界限是模糊的抑或是不存在的。元小说式的写作手法一时空碎片拼贴在《赎罪》叙事中的运用颠覆了传统小说艺术原有的模式和规范,体现出伊恩·麦克尤恩极具特色的后现代主义小说写作模式。此外,作者试图对伊恩·麦克尤恩构建小说女主人公布里欧尼终生赎罪情节的目的加以探讨,揭示了麦克尤恩在后现代主义小说写作上所采取的现实与虚构相结合的策略。
本篇论文研究结果表明：《赎罪》是一部具有明显元小说特征的后现代主义小说。通过暴露其创作过程,这部小说在写作方法上破坏了虚伪的现实,超越了虚构与非虚构,艺术与生活,小说与文学批评之间的界限。
Ian McEwan (1948-) is one of the most influential ones among the contemporary British writers. Atonement, as an unusual case of confessional fiction, has established Ian McEwan's position in the field of British postmodern literature. Since it's publication in 2001, Atonement has been widely analyzed and commented on from different perspectives. Although some critics have noticed some of the metafictional features in the novel, a deeper and more thorough study of the metafictional features of the novel is still needed.
In view of this, the thesis attempts to make a deeper study of the narrative techniques and writing strategies in Atonement from the perspective of metafictional theories. Metafiction is a mode of postmodern fictions that self-consciously addresses the devices of fiction, exposing the fictional illusions in its writing process. Based on substantial textual analysis and studies of the metafictional theories, the thesis aims to demonstrate the metafictional features Atonement presents us, such as, self-consciousness, inter-textuality and collages of time and space.
The open end of Atonement and the critical function of the text suggest the exposure of the fictive writing process of the novel and reflect the metafictional feature of self-consciousness. Through studies on the extra-textual relationship with texts outside the novel of Atonement and intra-textual relationship with stories within the text of the novel, the thesis attempts to reveal that the relationship between fiction and reality in the novel is blurred or even does not exist. The application of the metafictional writing strategy of the collages of time and space in the narration of Atonement subverts the writing mode of the traditional novels, and which precisely reflect the unique features of Ian McEwan's postmodern writing methodologies. Besides, by examining Ian McEwan's purpose of writing about Briony's ever-lasting atonement just for her fancy misinterpretation, the thesis discloses the combination of reality and fiction in Ian McEwan's writing strategies.
Research result of the thesis testifies that Atonement is a postmodern novel with typical metafictional features. This novel, by exposing its writing process, destroys the hypocritical realities and transcends boundaries between fiction and non-fiction, art and life, fiction and literary criticisms.
引文
[1]Seaboyer, Judith. "Ian McEwan:Contemporary Realism and the Novel of Ideas." The Contemporary British Novel Since 1980. Eds. James Acheson and Sarah C. E. Ross. Edinburgh UP 2005
[2]Updike, John. "Flesh on Flesh:Review of Atonement." New Yorker,4 (March 2002):80
[3]Brian, Finney. Briony's Stand Against Oblivion:The Making of Fiction in Ian McEwan's Atonement [J]. Journal of Modern literature.2001.
[4]Pilar, Hidalgo. Memory and Storytelling in Ian McEwan's Atonement [J]. Spanish Ministry of Science and Technology.2001.
[5]江南.戏中戏—伊恩·麦克尤恩小说《赎罪》文本的不稳定性[J].广西大学学报(哲学社会科学版).2008,9.
[6]陈榕.历史小说的原罪和救赎——解析麦克尤恩《赎罪》的元小说结尾[J].外国文学,2008,1.
[7]Hutcheon, Linda. Narcissistic Narrative:The Metafictional Paradox. Waterloo, Ontario: Wilfred Laurier University Press,1980.
[8]Waugh, Patricia. Metafiction—The Theory and Practice of Self-Consciousness Fiction. Methuen, London and New York,1984.
[9]McCaffery, Larry. The Metafictional Muse:The Works of Robert Coover, Donald Barthelme, and William H. Gass, Pittsburgh:University of Pittsburgh Press,1982.
[10]Lodge, David. The Art of Fiction. Harmondsaorth:Penguin.1992.
[11]Ommundsen, Wenche. Metafictions? Reflexivity in Contemporary Texts[M]. Melbourne University Press,1993:29.
[12]朱丽娅·克里斯蒂娃.符号学：意义分析研究[A].上海文艺出版社.1993.
[13]Saldivar, David Jose. Postmodern Realism [A]. Columbia University Press, New York, 1991.
[14]刘伟.何以赎罪—评麦克尤恩《赎罪》[J].科技信息,2008年第30期.
[15]Barth, John. The Friday Book:Essays and Other Non-Fiction [M]. New York:Putnam, 1984
[16]王又平.元小说：暴露虚构的话语策略[J].海南师范学院学报,2001,(4).
[17]胡全生.英美后现代主义小说叙述结构研究[M].上海：复旦大学出版社,2002.
[18]Hoffmann, Gerhard. From Modernism to Postmodernism:Concepts and Strategies of Postmodernism American Fiction [M]. Amsterdam and New York:Rodopi Editions BV,2005.
[19]Wheeler, Edward. T. The Lies of Novelists. Commonweal 26, May3,2002.
[20]McEwan, Ian. Atonement. Vintage Books, London:Jonathan Cape,2001.
[21]华莱士·马丁.当代叙事学[M].伍晓明,译.北京：北京大学出版社,1990：142.
[22]Gardner, John. The Art of Fiction:Notes on Craft for Young Writers. New York:Vintage, Random,1983.
[23]朱明.“元小说”的叙事手段及其操作策略[J].文史哲,1998.
[24]Lynn, David. A Conversation with Ian McEwan. Kenyon Review,2007..
[25]盛宁.文本的虚构性与历史的重构[J].外国文学评论,1991.
[26]Childs, Peter. The Fiction of McEwan. A Reader's Guide to Essential Criticism[M]. Pal grave Macmillan October 20,2005.
[27]Brown, David. A Boy Stepped Out:Migrancy, Visuality, and the Mapping of Masculinities in Later Fiction of Ian McEwan. Textual Practice, Spring2003, Vol.17 Issue 1.
[28]Mathews, Peter. The Impression of a Deeper Darkness:Ian McEwan's Atonement. Centenary College, New Jersey.2002
[29]Christensen, Inger. The Meaning of Metafiction:A Critical Study of Selected Novels by Sterne, Nabokov, Barth and Beckett [M]. Bergen:Universitets-forlaget,1981.
[30]Jalgo, Morrison. Narration and Unease in Ian McEwan's Later Fiction[J]. Critique. Spring 2001, Vol.42, No.3
[31]Haffenden, John. Novelists In Interview[M]. Methen, London, New York,1985.
[32]Alter, Robert. Partial Magic:The Novel as a Self-Conscious Genre [M]. Berkeley: University of California Press,1975.
[33]Bentley, Nick. British Fiction of the 1990s [M]. London, New York.2005.
[34]Scholes, Robert. Fabulation and Metafiction [M]. Urbana:University of Illinois Press, 1979.
[35]James, Henry. What Maisie Knew[M]. Penguin Classics,1986.
[36]崔少元.后现代主义欧美文学[M].北京：中国社会科学出版社,2002.
[37]James, Henry. The Golden Bowl [Z]. New York Edition, Oxford University Press,1909
[38]陈丽.亨利·詹姆斯《金碗》的元小说性[J].外国语文.2009,6.Vol.25 No.3
[39]王钦峰.后现代主义小说论略[M].北京：中国社会科学出版社,2001.
[40]肖莉.元小说“碎片化”写作：颠覆传统叙述的整体性[J].福建师范大学学报(哲学社会科学版)No.3,2008.
[41]Owen, Flanagan. Varieties of Moral Personality:Ethics and Psychological Realism[M]. Harvard University Press,1993.
[42]杨义.纪晓岚与“元小说”[N].光明日报,1998.
[43]Lodge, David. Consciousness and the Novel [M]. London:Secker,2002.
[44]Elias, Amy. Sublime Desire:History and Post-1'960s Fiction. Baltimore:Johns Hopkins UP, 2001.
[45]金圣坤.关于后现代主义几个理论问题的思考[J].国外社会科学,1998,(2)
[46]曾艳兵.后现代主义小说辨析[J].东方论坛,2002,3.
[47]Cowart, David. History and the Contemporary Novel [M]. Carbondale:Southern Illinois UP,1989.
[48]李新博.后现代主义小说中虚构与现实的关系[J].时代文学,2009.
[49]邹广胜,高公荣.后现代主义文学的四个基本特征[J].南京师范大学文学院学报,2003,(1)
[50]弗吉尼亚-伍尔夫.论小说与小说家(翟世镜译)[M].上海：上海译文出版社,1986.
[2]Updike, John. "Flesh on Flesh:Review of Atonement." New Yorker,4 (March 2002):80
[3]Brian, Finney. Briony's Stand Against Oblivion:The Making of Fiction in Ian McEwan's Atonement [J]. Journal of Modern literature.2001.
[4]Pilar, Hidalgo. Memory and Storytelling in Ian McEwan's Atonement [J]. Spanish Ministry of Science and Technology.2001.
[5]江南.戏中戏—伊恩·麦克尤恩小说《赎罪》文本的不稳定性[J].广西大学学报(哲学社会科学版).2008,9.
[6]陈榕.历史小说的原罪和救赎——解析麦克尤恩《赎罪》的元小说结尾[J].外国文学,2008,1.
[7]Hutcheon, Linda. Narcissistic Narrative:The Metafictional Paradox. Waterloo, Ontario: Wilfred Laurier University Press,1980.
[8]Waugh, Patricia. Metafiction—The Theory and Practice of Self-Consciousness Fiction. Methuen, London and New York,1984.
[9]McCaffery, Larry. The Metafictional Muse:The Works of Robert Coover, Donald Barthelme, and William H. Gass, Pittsburgh:University of Pittsburgh Press,1982.
[10]Lodge, David. The Art of Fiction. Harmondsaorth:Penguin.1992.
[11]Ommundsen, Wenche. Metafictions? Reflexivity in Contemporary Texts[M]. Melbourne University Press,1993:29.
[12]朱丽娅·克里斯蒂娃.符号学：意义分析研究[A].上海文艺出版社.1993.
[13]Saldivar, David Jose. Postmodern Realism [A]. Columbia University Press, New York, 1991.
[14]刘伟.何以赎罪—评麦克尤恩《赎罪》[J].科技信息,2008年第30期.
[15]Barth, John. The Friday Book:Essays and Other Non-Fiction [M]. New York:Putnam, 1984
[16]王又平.元小说：暴露虚构的话语策略[J].海南师范学院学报,2001,(4).
[17]胡全生.英美后现代主义小说叙述结构研究[M].上海：复旦大学出版社,2002.
[18]Hoffmann, Gerhard. From Modernism to Postmodernism:Concepts and Strategies of Postmodernism American Fiction [M]. Amsterdam and New York:Rodopi Editions BV,2005.
[19]Wheeler, Edward. T. The Lies of Novelists. Commonweal 26, May3,2002.
[20]McEwan, Ian. Atonement. Vintage Books, London:Jonathan Cape,2001.
[21]华莱士·马丁.当代叙事学[M].伍晓明,译.北京：北京大学出版社,1990：142.
[22]Gardner, John. The Art of Fiction:Notes on Craft for Young Writers. New York:Vintage, Random,1983.
[23]朱明.“元小说”的叙事手段及其操作策略[J].文史哲,1998.
[24]Lynn, David. A Conversation with Ian McEwan. Kenyon Review,2007..
[25]盛宁.文本的虚构性与历史的重构[J].外国文学评论,1991.
[26]Childs, Peter. The Fiction of McEwan. A Reader's Guide to Essential Criticism[M]. Pal grave Macmillan October 20,2005.
[27]Brown, David. A Boy Stepped Out:Migrancy, Visuality, and the Mapping of Masculinities in Later Fiction of Ian McEwan. Textual Practice, Spring2003, Vol.17 Issue 1.
[28]Mathews, Peter. The Impression of a Deeper Darkness:Ian McEwan's Atonement. Centenary College, New Jersey.2002
[29]Christensen, Inger. The Meaning of Metafiction:A Critical Study of Selected Novels by Sterne, Nabokov, Barth and Beckett [M]. Bergen:Universitets-forlaget,1981.
[30]Jalgo, Morrison. Narration and Unease in Ian McEwan's Later Fiction[J]. Critique. Spring 2001, Vol.42, No.3
[31]Haffenden, John. Novelists In Interview[M]. Methen, London, New York,1985.
[32]Alter, Robert. Partial Magic:The Novel as a Self-Conscious Genre [M]. Berkeley: University of California Press,1975.
[33]Bentley, Nick. British Fiction of the 1990s [M]. London, New York.2005.
[34]Scholes, Robert. Fabulation and Metafiction [M]. Urbana:University of Illinois Press, 1979.
[35]James, Henry. What Maisie Knew[M]. Penguin Classics,1986.
[36]崔少元.后现代主义欧美文学[M].北京：中国社会科学出版社,2002.
[37]James, Henry. The Golden Bowl [Z]. New York Edition, Oxford University Press,1909
[38]陈丽.亨利·詹姆斯《金碗》的元小说性[J].外国语文.2009,6.Vol.25 No.3
[39]王钦峰.后现代主义小说论略[M].北京：中国社会科学出版社,2001.
[40]肖莉.元小说“碎片化”写作：颠覆传统叙述的整体性[J].福建师范大学学报(哲学社会科学版)No.3,2008.
[41]Owen, Flanagan. Varieties of Moral Personality:Ethics and Psychological Realism[M]. Harvard University Press,1993.
[42]杨义.纪晓岚与“元小说”[N].光明日报,1998.
[43]Lodge, David. Consciousness and the Novel [M]. London:Secker,2002.
[44]Elias, Amy. Sublime Desire:History and Post-1'960s Fiction. Baltimore:Johns Hopkins UP, 2001.
[45]金圣坤.关于后现代主义几个理论问题的思考[J].国外社会科学,1998,(2)
[46]曾艳兵.后现代主义小说辨析[J].东方论坛,2002,3.
[47]Cowart, David. History and the Contemporary Novel [M]. Carbondale:Southern Illinois UP,1989.
[48]李新博.后现代主义小说中虚构与现实的关系[J].时代文学,2009.
[49]邹广胜,高公荣.后现代主义文学的四个基本特征[J].南京师范大学文学院学报,2003,(1)
[50]弗吉尼亚-伍尔夫.论小说与小说家(翟世镜译)[M].上海：上海译文出版社,1986.