再现·变形·挪用:伊恩·麦克尤恩的创伤叙事嬗变_黄一畅, 著_9787305173387

再现·变形·挪用:伊恩·麦克尤恩的创伤叙事嬗变

定价：¥36

中教价：¥24.48 (6.80折）

库存数： 0

购买数量：

　　《再现·变形·挪用：伊恩·麦克尤恩的创伤叙事嬗变》结合了创伤研究、叙事学及伦理批评的交叉视角，以麦克尤恩6部代表性创伤题材小说为研究对象，从叙事手法、主题建构、伦理审视、文化隐喻等方面考察其创伤书写体系，具有较为全面的研究范围和较为新颖的研究路径，也是跨学科研究的一次有效尝试。通过对麦克尤恩创伤叙事轨迹的勾勒，《再现·变形·挪用：伊恩·麦克尤恩的创伤叙事嬗变》旨在探询其创伤叙事意图及疗愈机制，这对于概览麦克尤恩的叙事技艺、创伤书写特征及其对于创伤平复的伦理态度变化都有着一定的探索意义。

　　英国当代作家伊恩·麦克尤恩（IanMcEwan，1948-）近年来的持续走俏，应当与其被改编成同名电影的小说《赎罪》（Atonement2001）不无关系。影片女主角——“英伦玫瑰”凯拉·奈特莉的光环，才子导演乔·怀特的人气，麦克尤恩亲任联合制片人的噱头，以及二战烟云下生离死别与遗恨难消的情节很快使得这部电影一时之间风头无尽。身负2007年温哥华国际电影节开幕影片，金球奖最佳影片，奥斯卡多项提名大奖的盛誉，《赎罪》在全球范围内的轰动效应也催生了新的原著读者群。小说后现代元叙事背后的人性拷问彰显了麦克尤恩巅峰之作的叙事功力，也使得这位早在1998年便获得过布克奖的作家再次成为学术界的热议对象，各种研究成果层出不穷。
　　纵观麦克尤恩自1975年以来创作的小说，一个贯穿始终的叙事主题就是对于人类心理创伤的关注，这与他的个人经历有着千丝万缕的联系。麦克尤恩成长于一个军人家庭，幼年时期跟随服役的父亲辗转海外，居无定所，少年时期被送到寄宿学校，孤僻疏离，第一次婚姻失败后因为孩子的抚养权而与前妻对簿公堂，花甲之年却因为父母当年的私生子丑闻而陷入舆论漩涡。因此，麦克尤恩早期作品中一个显著的文本叙事重心便是亲伦关系裂痕及其对个人成长的深重影响。20世纪90年代以后，麦克尤恩除了继续着墨于个人创伤的再现与平复，也将当代社会文化创伤之于个体的烙印写入了小说之中。这种创伤主题的拓展和书写轨迹的改变导致了他笔下的创伤情景建构存在主题分类上的不同、叙事基调上的迥异以及叙事意图上的大相径庭，也意味着单一的批评视角无法穷尽其变幻的叙事技艺和深邃的文本内涵。因此，在当前以伦理批评与叙事学视阈为主导范式的麦克尤恩研究中，引入创伤视角来进行融合视阈下的系统考察更有利于探究麦克尤恩对当代西方社会历史的回顾反思和对人类生存困境的伦理思忖。
　　本书结合了创伤研究、叙事学及伦理批评的交叉视角，以麦克尤恩6部代表性创伤题材小说为研究对象，从叙事手法、主题建构、伦理审视、文化隐喻等方面考察其创伤书写体系，具有较为全面的研究范围和较为新颖的研究路径，也是跨学科研究的一次有效尝试。通过对麦克尤恩创伤叙事轨迹的勾勒，本书旨在探询其创伤叙事意图及疗愈机制，这对于概览麦克尤恩的叙事技艺、创伤书写特征及其对于创伤平复的伦理态度变化都有着一定的探索意义。
查看全部↓

　　《再现·变形·挪用：伊恩·麦克尤恩的创伤叙事嬗变》：
　　Chapter One concerns two novels narrated from the thirdperson perspective, The Child in Time (1987) and Saturday(2005), in which the protagonists share the role of victim obsessed with individual and soaal trauma. The typical narrative feature in trauma representation is the diversification of discourse that exemplifies the post traumatic stress upon trauma victims, whose reflective conscious directs to what Cathy Caruth terms as "the belatedness of trauma" in the extension of narrative temporality and spatiality. The thematic focus in these two novels skips from trauma representation to cultural
　　reflection on contemporary soaety, to which McEwan projects his anxiety about the accessibility to individuals' trauma recovery under the soaal unease shadowed by 9/11 terrorist attack.
　　Chapter Two deals with two first-person memoirs, Black Dogs (1992) and Enduring Love (1997), in which the unreliable narrative of the textual narrators, who are the trauma witnesses indeed, attests Ruth Leys' viewpoint that the transformation of trauma is inevitable due to the discrepancy between traumatic
　　memory and narrative memory. The multiple focalizations upon the same event display the divergence of ethical positions held by traumatized characters who experience similar historical and collective catastrophe, according with the traumatic assimilation from oneself to the other, and individual to collective, and disclose the witness' hesitance to acknowledge his or her misconduct in the traumatic event. With the narrative transition from historicity to narrativity of trauma in these two novels, the self-reflexive narration implicates McEwan's attempt and renouncement of the possible therapeutic function of trauma narrative.
　　Chapter Three turns to two novels published in the new millennium, Atonement (2001) and Sweet Tooth (2012), where the protagonists, or the "implied authors" struggling between confessional and perfor:mative writing (LaCapra, "Writing History" 183) are unexpectedly trauma perpetrators with impliat
　　narrative motive. The ethical burden of trauma appropriation also transfers from "implied author" to "narrative reader" who are engaged to an extensive spectrum of narrative ethics, in that the postmodern framed narrative fosters readers to partiapate in the narrative reconstruction of trauma and further gets access to speculating over the ethical implication in the perpetrator's trauma writing. The confessional style in these two novels
　　……
查看全部↓

你还可能感兴趣

我要评论

您的姓名	验证码：
留言内容