暧昧的抵抗
摘要
戏仿(Parody)是西方文论的一个美学范畴。在世界文学里,戏仿有着悠久的文化渊源,其内涵一直处于不断的变化之中。到了大众传媒时代,随着戏仿载体的不断绵延以及网民诉说欲望的飙升,戏仿正逐渐成为大众传媒时代极为重要的话语之一。当代中国戏仿实践大致先后经历了“大话/无厘头”、“恶搞”、“山寨”三个阶段,体现出原作的非经典化/通俗化、互文性的泛化/非固定化、高度的大众化/游戏化等新特征。已有的戏仿理论不足以对中国文化语境中的戏仿实践加以阐释,因此需要对其进行重新概念化:戏仿通过同与异的双重结构,借助反讽制造艺术张力,作为一种生产者式文本具有对等级秩序和权威控制抵抗的潜能。通过权力视角的引入,我们可以发现中国当代戏仿实践具有悖论式的特征:既具有颠覆既有权力、既定价值的文化政治内涵,又呈现出抵抗与妥协、冒犯与合作并存的双重性格,表现为一种“暧昧的抵抗”。尽管如此,当代戏仿实践的暖昧立场并不能全然抹杀它的批评潜能。在当代戏仿实践的双重面具背后,其实表达了一种主张民主、平等、自由的对话精神。
Parody is an important category of western literary theory, which has a long history since Ancient Greece and the connotation of parody has been changing continuously. In the mass media age, with the development of Internet and hyperspace, the forms of parody has become more abundant and peoples' desire of expression has expanded greatly, thus making parody one of the most important discourses today. The contemporary parody practices in China have gone through the following three stages, called "Da-Hua", "E-gao" and "Shan-zhai" in Chinese. These practices shared such features like non-classical source text, non-fixed intertextuality, and they are more entertaining. The existing theory is insufficient in the context of Chinese culture to explain today's practice of parody, which reveals that the connotation of parody need re-conceptualization. Parody is the imitation with critical distance. It shows differences through double-voice structure, and has an ironic tone to create artistic tension. As "producerly text", parody has the cultural potentiality of resistance on authority and hierarchical order. In the perspective of power theory, it is clear that the contemporary parody practices in China have their own paradox. On the one hand, these parody practices tease and upset the traditional or existing classical discourse aesthetic order, as well as the moral and cultural order supporting behind them. On the other hand, the contemporary parody practices in China are the strange combination of resistance and compromise, the cooperation and offensive so that we may call it "ambiguous resistance". Nevertheless, the ambiguous character of the practice of contemporary parody will not weaken its critical potentiality. As a matter of fact, behind the mask of "ambiguous resistance", contemporary parody practices are the expression of a "carnival-style" feeling of the world, which is to subvert the caste system seeking for pro-democracy, equality and freedom.
Parody is an important category of western literary theory, which has a long history since Ancient Greece and the connotation of parody has been changing continuously. In the mass media age, with the development of Internet and hyperspace, the forms of parody has become more abundant and peoples' desire of expression has expanded greatly, thus making parody one of the most important discourses today. The contemporary parody practices in China have gone through the following three stages, called "Da-Hua", "E-gao" and "Shan-zhai" in Chinese. These practices shared such features like non-classical source text, non-fixed intertextuality, and they are more entertaining. The existing theory is insufficient in the context of Chinese culture to explain today's practice of parody, which reveals that the connotation of parody need re-conceptualization. Parody is the imitation with critical distance. It shows differences through double-voice structure, and has an ironic tone to create artistic tension. As "producerly text", parody has the cultural potentiality of resistance on authority and hierarchical order. In the perspective of power theory, it is clear that the contemporary parody practices in China have their own paradox. On the one hand, these parody practices tease and upset the traditional or existing classical discourse aesthetic order, as well as the moral and cultural order supporting behind them. On the other hand, the contemporary parody practices in China are the strange combination of resistance and compromise, the cooperation and offensive so that we may call it "ambiguous resistance". Nevertheless, the ambiguous character of the practice of contemporary parody will not weaken its critical potentiality. As a matter of fact, behind the mask of "ambiguous resistance", contemporary parody practices are the expression of a "carnival-style" feeling of the world, which is to subvert the caste system seeking for pro-democracy, equality and freedom.
引文
1(英)福勒著,现代西方文学批评术语词典[M],袁德成译,成都:四川人民出版社,1987,P193
2(法)蒂菲纳·萨莫瓦约著,互文性研究[M],邵炜译,天津:天津人民出版社,2003,P41
2 Margaret·A·Rose Parody:Ancient,Modern,and Postmodern[M].Cambridge:Cambridge University Press.1993.P.5
4 Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Fonns[M].London:Methuen &Co.Ltd.1985.P.43.
5 Parody:Ancient,Modern,and Postmodern.Cambridge:Cambridge University Press[M].1993.P.55
6(古希腊)亚里士多德著,诗学[M],上海:上海世纪出版集团,2006,P20
7(古希腊)亚里斯多德著,修辞学[M],罗念生译,北京:三联书店,1991,P215
8(苏)巴赫金著,巴赫金全集(第六卷)[M],河北:河北教育出版社,1998,P16
9(俄)维·什克洛夫斯基,《作为技巧的艺术》,转引自张隆溪,二十世纪西方文论述评[M],北京:三联书店 1986,P75-76
10 Margaret·A·Rose Parody:Ancient,Modern,and Postmodern[M].Cambridge:Cambridge University Press.1993.P179
11 Julia Kristeva,"Work,Dialogue and Novel",in the Kristeva Reader,Toril moied,Oxford:Blackwell Publishers Ltd.,1986,P35
12(法) 热奈特著,史忠义译,热奈特文集[M],天津:百花文艺出版社,2001,P68
13(法) 蒂菲纳·萨莫瓦约著,互文性研究[M],天津:人民出版社,2003,P47
14(英) F.R.利维斯著,袁伟译,伟大的传统[M],北京:三联书店,2002,P42-43
15(美) 查尔士·B·哈里斯,文学传统的背叛者[M],仵从巨、高原译,陕西人民出版社,1987,P8
16(美) 詹明信著,张旭东编,陈清侨等译,晚期资本主义的文化逻辑:詹明信批评理论文选[M],北京:三联书店,伦敦:牛津大学出版社,1997,P401
17(美) 詹姆逊著,胡亚敏等译,文化转向[M],北京:中国社会科学院出版社,2000,P6
18(加拿大)琳达哈琴《后现代主义诗学理论》,转引自王岳川、尚水编,后现代主义文化与美学[M],北京:北京大学出版社,1992,P272
19 Malcolm Bradbury.No.Not bloomsbury[M],London:Andre Deutsch,1987 P60
20 Beate Muller(ed.),Introduction to Parody:Dimensions and Perspectives(Amsterdam,The Netherlands:Rodopi,1997),p.4.
21(加) 马歇尔·麦克卢汉著,何道宽译,理解媒介:论人的延伸[M],北京:商务印书馆,2000,P33
22(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184
23(法)居伊·德波著,景观社会[M],南京:南京大学出版社,2006,前言
24(法)波德里亚著,消费社会[M],刘成富、全志钢译,南京:南京大学出版社,2000,P185
25 Baudrillard,Selected Writings[M],Standford University Press,2001,P217
26(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184.
27 Simon Dentith,Parody[M],Routledge,London,2000,Preface
28 Hutcheon,A theory of Parody:The Teachings of Twentieth Century Art Forms[M]London:Methuen &Co.Ltd.1985,P43
29 同上
30(美)马丁著,伍晓明译,当代叙事学[M],北京:北京大学出版社,1990,P139-140
31 王先霈,王又平主编,文学批评术语词典[M],上海:上海文艺出版社,1999,P801
32 A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.P.64
33(美)马丁著,伍晓明译,当代叙事学(英文版)[M],北京:北京大学出版社,1990,P179
34 布鲁克斯《反讽一一种结构原则》,见赵毅衡:新批评文集[M],北京:中国社会科学出版社,1988,P333
35 同33
36 赵宪章,超文兴戏仿问题解读,湖南师范大学社会科学学报,2004(3),P101-109
37 约翰·费斯克著,理解大众文化[M],北京:中央编译出版社,2001,P127-128
38 约翰·费斯克著,理解大众文化[M],北京:中央编译出版社,2001,P128
39 尼采,权力意志一重估一切价值的尝试[M],张念东、凌素心译,北京:商务印书馆,1991年,P154
40(法)米歇尔·福柯著,刘北成、杨远婴译,规训与惩罚:监狱的诞生[M],北京三联书店,2003
41(法)福科著,性史[M],张廷琛等译,上海:上海科技出版社,1989,P99
42(美)道格拉斯·凯尔纳,后现代理论[M],北京:中央编译出版社,1999,P75
43(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001,P300
44(美)哈罗德·布鲁姆著,徐文博译,影响的焦虑:一种诗歌理论,南京:江苏教育出版社,2006
45 赵宪章.超文兴戏仿问题解读.湖南师范大学社会科学学报.2004(3):101-109赵宪章认为,如果说戏谑性张力是戏仿效果得以生成的发动机,那么,具体而言,与其他戏仿文本一样,网络恶搞作品的戏谑性张力的达成也是“转述者变训”、“义理置换”、“急速矮化”、“文本格式化”等戏仿机制在起作用。
46(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001P301
47(美)海澄·怀特,《作为文学虚构的历史文本》参见张京媛主编,新历史主义与文学批评[M],北京大学出版社1993,P163-164
48(古希腊)亚里士多德,诗学[M],上海世纪出版集团,2006,P20
49(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001,P299
50 女诗人被戏称“诗坛芙蓉”网友称其作品是废话http://news.qq.com/a/20060920/000794.htm
51(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184
52(美)约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001,P124
53 Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.R64
54 巴赫金著,巴赫金全集(第六卷)[M],河北:河北教育出版社,1998,P58
55(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚铃译,三联书店,1988, P156
56 参考鲍德里亚《消费社会》中的相关论述,消费社会[M],南京:南京大学出版社,2000
57 Michel de Certeau,The Practice of Everyday Life,Berkeley:University of California Press,1988
58 阿雷恩·鲍尔德温等,文化研究导论[M],高等教育出版社,2004年,P330
59 丹尼尔·贝尔,资本主义文化矛盾[M],赵一凡、蒲隆、任晓晋译,北京:三联书店1989,P192
60(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],P170、P185
61(美)詹姆逊著,《大众文化的具体化和乌托邦》,参见文化研究与政治意识[M],主编王逢振,北京:中国人民大学出版社,2004,P52-84
62(苏)巴赫金著,巴赫金全集[M],第六卷,李兆林等译,石家庄:河北教育出版社,1998,P14
63 约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001,P124
64 Edward Said,The World,the Text,and The critic,Cambridge,Harvard University Press 1979P4-5。在题为《世俗批评》的序言中,赛义德强调了文本的“世事性”(worldliness)特点,强调了文本与世界之间的关系。
[1](英)福勒著,现代西方文学批评术语词典[M],袁德成译,成都:四川人民出版社,1987
[2]王先霈,王又平主编,文学批评术语词典[M],上海:上海文艺出版社,1999
[3](古希腊)亚里士多德,诗学[M],上海:上海世纪出版集团,2006
[4](古希腊)亚里斯多德,修辞学[M],罗念生译,北京:三联书店,1991
[5](苏)巴赫金,巴赫金全集(第六卷)[M],河北:河北教育出版社,1998
[6](苏)巴赫金,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁,顾亚玲译,北京:三联书店,1988
[7](法)热奈特著,史忠义译,热奈特文集[M],天津:百花文艺出版社,2001
[8](法)蒂菲纳·萨莫瓦约,互文性研究[M],天津:人民出版社,2003
[9](英)F.R.利维斯著,袁伟译,伟大的传统[M],北京:三联书店,2002
[10](美)查尔士·B·哈里斯,文学传统的背叛者[M],仵从巨、高原译,陕西人民出版社,1987
[11](美)詹明信著,晚期资本主义的文化逻辑:詹明信批评理论文选[M],张旭东编,陈清侨等译,北京:三联书店,伦敦:牛津大学出版社,1997
[12](美)詹姆逊著,胡亚敏等译,文化转向[M],北京:中国社会科学院出版社,2000
[13]王岳川、尚水编,后现代主义文化与美学[M],北京:北京大学出版社,1992
[14](加)马歇尔·麦克卢汉著,何道宽译,理解媒介:论人的延伸[M],北京:商务印书馆,2000
[15](法)波德里亚.消费社会[M].刘成富,全志钢译.南京:南京大学出版社,2000
[16](美)马丁著,伍晓明译,当代叙事学[M],北京:北京大学出版社,1990
[17]赵毅衡,新批评文集[M],北京:中国社会科学出版社,1988
[18]赵宪章,超文兴戏仿问题解读,湖南师范大学社会科学学报,2004(3)
[19](美)约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001
[20](德)尼采,权力意志——重估一切价值的尝试[M],张念东、凌素心译,北京:商务印书馆,1991
[21](法)米歇尔·福柯著,规训与惩罚:监狱的诞生[M],刘北成、杨远婴译,北京:三联书店,2003
[22](法)福科,性史[M],张廷琛等译,上海:上海科技出版社,1989
[23](美)道格拉斯·凯尔纳,后现代理论[M],北京:中央编译出版社,1999
[24](法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001
[25]张京媛主编,新历史主义与文学批评[M],北京大学出版社,1993
[26](美)哈罗德·布鲁姆著,徐文博译,影响的焦虑:一种诗歌理论,南京:江苏教育出版社,2006
[27]张京媛主编,新历史主义与文学批评[M],北京大学出版社1993
[28]阿雷恩·鲍尔德温等,文化研究导论[M],高等教育出版社,2004
[29]丹尼尔·贝尔,资本主义文化矛盾[M],赵一凡、蒲隆、任晓晋译,北京:三联书店,1989
[30]刘恪,先锋小说技巧讲堂[M],天津:百花文艺出版社,2007
[31]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
[32]张隆溪,二十世纪西方文论述评[M],北京:三联书,1986
[33](法)居伊·德波著,景观社会[M],南京:南京大学出版社,2006
[34]Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.
[35]Simon Dentith,Parody[M],Routledge,London,2000
[36]Margret A Rose,Parody:Ancient,Modern,and Postmodern.Cambridge:Cambridge University Press[M].1993.
[37]Baudrillard,Selected Writings[M],Standford University Press,2001
[38]Malcolm Bradbury.No.Not bloomsbury[M],London:Andre Deutsch,1987
[39]Edward Said,The World,the Text,and The Critic,Cambridge,Harvard University Press 1979
2(法)蒂菲纳·萨莫瓦约著,互文性研究[M],邵炜译,天津:天津人民出版社,2003,P41
2 Margaret·A·Rose Parody:Ancient,Modern,and Postmodern[M].Cambridge:Cambridge University Press.1993.P.5
4 Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Fonns[M].London:Methuen &Co.Ltd.1985.P.43.
5 Parody:Ancient,Modern,and Postmodern.Cambridge:Cambridge University Press[M].1993.P.55
6(古希腊)亚里士多德著,诗学[M],上海:上海世纪出版集团,2006,P20
7(古希腊)亚里斯多德著,修辞学[M],罗念生译,北京:三联书店,1991,P215
8(苏)巴赫金著,巴赫金全集(第六卷)[M],河北:河北教育出版社,1998,P16
9(俄)维·什克洛夫斯基,《作为技巧的艺术》,转引自张隆溪,二十世纪西方文论述评[M],北京:三联书店 1986,P75-76
10 Margaret·A·Rose Parody:Ancient,Modern,and Postmodern[M].Cambridge:Cambridge University Press.1993.P179
11 Julia Kristeva,"Work,Dialogue and Novel",in the Kristeva Reader,Toril moied,Oxford:Blackwell Publishers Ltd.,1986,P35
12(法) 热奈特著,史忠义译,热奈特文集[M],天津:百花文艺出版社,2001,P68
13(法) 蒂菲纳·萨莫瓦约著,互文性研究[M],天津:人民出版社,2003,P47
14(英) F.R.利维斯著,袁伟译,伟大的传统[M],北京:三联书店,2002,P42-43
15(美) 查尔士·B·哈里斯,文学传统的背叛者[M],仵从巨、高原译,陕西人民出版社,1987,P8
16(美) 詹明信著,张旭东编,陈清侨等译,晚期资本主义的文化逻辑:詹明信批评理论文选[M],北京:三联书店,伦敦:牛津大学出版社,1997,P401
17(美) 詹姆逊著,胡亚敏等译,文化转向[M],北京:中国社会科学院出版社,2000,P6
18(加拿大)琳达哈琴《后现代主义诗学理论》,转引自王岳川、尚水编,后现代主义文化与美学[M],北京:北京大学出版社,1992,P272
19 Malcolm Bradbury.No.Not bloomsbury[M],London:Andre Deutsch,1987 P60
20 Beate Muller(ed.),Introduction to Parody:Dimensions and Perspectives(Amsterdam,The Netherlands:Rodopi,1997),p.4.
21(加) 马歇尔·麦克卢汉著,何道宽译,理解媒介:论人的延伸[M],北京:商务印书馆,2000,P33
22(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184
23(法)居伊·德波著,景观社会[M],南京:南京大学出版社,2006,前言
24(法)波德里亚著,消费社会[M],刘成富、全志钢译,南京:南京大学出版社,2000,P185
25 Baudrillard,Selected Writings[M],Standford University Press,2001,P217
26(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184.
27 Simon Dentith,Parody[M],Routledge,London,2000,Preface
28 Hutcheon,A theory of Parody:The Teachings of Twentieth Century Art Forms[M]London:Methuen &Co.Ltd.1985,P43
29 同上
30(美)马丁著,伍晓明译,当代叙事学[M],北京:北京大学出版社,1990,P139-140
31 王先霈,王又平主编,文学批评术语词典[M],上海:上海文艺出版社,1999,P801
32 A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.P.64
33(美)马丁著,伍晓明译,当代叙事学(英文版)[M],北京:北京大学出版社,1990,P179
34 布鲁克斯《反讽一一种结构原则》,见赵毅衡:新批评文集[M],北京:中国社会科学出版社,1988,P333
35 同33
36 赵宪章,超文兴戏仿问题解读,湖南师范大学社会科学学报,2004(3),P101-109
37 约翰·费斯克著,理解大众文化[M],北京:中央编译出版社,2001,P127-128
38 约翰·费斯克著,理解大众文化[M],北京:中央编译出版社,2001,P128
39 尼采,权力意志一重估一切价值的尝试[M],张念东、凌素心译,北京:商务印书馆,1991年,P154
40(法)米歇尔·福柯著,刘北成、杨远婴译,规训与惩罚:监狱的诞生[M],北京三联书店,2003
41(法)福科著,性史[M],张廷琛等译,上海:上海科技出版社,1989,P99
42(美)道格拉斯·凯尔纳,后现代理论[M],北京:中央编译出版社,1999,P75
43(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001,P300
44(美)哈罗德·布鲁姆著,徐文博译,影响的焦虑:一种诗歌理论,南京:江苏教育出版社,2006
45 赵宪章.超文兴戏仿问题解读.湖南师范大学社会科学学报.2004(3):101-109赵宪章认为,如果说戏谑性张力是戏仿效果得以生成的发动机,那么,具体而言,与其他戏仿文本一样,网络恶搞作品的戏谑性张力的达成也是“转述者变训”、“义理置换”、“急速矮化”、“文本格式化”等戏仿机制在起作用。
46(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001P301
47(美)海澄·怀特,《作为文学虚构的历史文本》参见张京媛主编,新历史主义与文学批评[M],北京大学出版社1993,P163-164
48(古希腊)亚里士多德,诗学[M],上海世纪出版集团,2006,P20
49(法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001,P299
50 女诗人被戏称“诗坛芙蓉”网友称其作品是废话http://news.qq.com/a/20060920/000794.htm
51(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚玲译,北京:三联书店,1988,P184
52(美)约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001,P124
53 Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.R64
54 巴赫金著,巴赫金全集(第六卷)[M],河北:河北教育出版社,1998,P58
55(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],白春仁、顾亚铃译,三联书店,1988, P156
56 参考鲍德里亚《消费社会》中的相关论述,消费社会[M],南京:南京大学出版社,2000
57 Michel de Certeau,The Practice of Everyday Life,Berkeley:University of California Press,1988
58 阿雷恩·鲍尔德温等,文化研究导论[M],高等教育出版社,2004年,P330
59 丹尼尔·贝尔,资本主义文化矛盾[M],赵一凡、蒲隆、任晓晋译,北京:三联书店1989,P192
60(苏)巴赫金著,陀思妥耶夫斯基诗学问题:复调小说理论[M],P170、P185
61(美)詹姆逊著,《大众文化的具体化和乌托邦》,参见文化研究与政治意识[M],主编王逢振,北京:中国人民大学出版社,2004,P52-84
62(苏)巴赫金著,巴赫金全集[M],第六卷,李兆林等译,石家庄:河北教育出版社,1998,P14
63 约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001,P124
64 Edward Said,The World,the Text,and The critic,Cambridge,Harvard University Press 1979P4-5。在题为《世俗批评》的序言中,赛义德强调了文本的“世事性”(worldliness)特点,强调了文本与世界之间的关系。
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[3](古希腊)亚里士多德,诗学[M],上海:上海世纪出版集团,2006
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[9](英)F.R.利维斯著,袁伟译,伟大的传统[M],北京:三联书店,2002
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[11](美)詹明信著,晚期资本主义的文化逻辑:詹明信批评理论文选[M],张旭东编,陈清侨等译,北京:三联书店,伦敦:牛津大学出版社,1997
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[15](法)波德里亚.消费社会[M].刘成富,全志钢译.南京:南京大学出版社,2000
[16](美)马丁著,伍晓明译,当代叙事学[M],北京:北京大学出版社,1990
[17]赵毅衡,新批评文集[M],北京:中国社会科学出版社,1988
[18]赵宪章,超文兴戏仿问题解读,湖南师范大学社会科学学报,2004(3)
[19](美)约翰·费斯克,理解大众文化[M],北京:中央编译出版社,2001
[20](德)尼采,权力意志——重估一切价值的尝试[M],张念东、凌素心译,北京:商务印书馆,1991
[21](法)米歇尔·福柯著,规训与惩罚:监狱的诞生[M],刘北成、杨远婴译,北京:三联书店,2003
[22](法)福科,性史[M],张廷琛等译,上海:上海科技出版社,1989
[23](美)道格拉斯·凯尔纳,后现代理论[M],北京:中央编译出版社,1999
[24](法)皮埃尔·布迪厄著,刘晖译,艺术的法则:文学场的生成和结构[M],北京:中央编译出版社,2001
[25]张京媛主编,新历史主义与文学批评[M],北京大学出版社,1993
[26](美)哈罗德·布鲁姆著,徐文博译,影响的焦虑:一种诗歌理论,南京:江苏教育出版社,2006
[27]张京媛主编,新历史主义与文学批评[M],北京大学出版社1993
[28]阿雷恩·鲍尔德温等,文化研究导论[M],高等教育出版社,2004
[29]丹尼尔·贝尔,资本主义文化矛盾[M],赵一凡、蒲隆、任晓晋译,北京:三联书店,1989
[30]刘恪,先锋小说技巧讲堂[M],天津:百花文艺出版社,2007
[31]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
[32]张隆溪,二十世纪西方文论述评[M],北京:三联书,1986
[33](法)居伊·德波著,景观社会[M],南京:南京大学出版社,2006
[34]Hutcheon,Linda.A theory of Parody:The Teachings of Twentieth Century Art Forms[M].London:Methuen &Co.Ltd.1985.
[35]Simon Dentith,Parody[M],Routledge,London,2000
[36]Margret A Rose,Parody:Ancient,Modern,and Postmodern.Cambridge:Cambridge University Press[M].1993.
[37]Baudrillard,Selected Writings[M],Standford University Press,2001
[38]Malcolm Bradbury.No.Not bloomsbury[M],London:Andre Deutsch,1987
[39]Edward Said,The World,the Text,and The Critic,Cambridge,Harvard University Press 1979