摘要
互文性手法是君特.格拉斯小说的一个鲜明特点,它决定了作品复杂而独特的结构,使叙述具有开放性、多角度、多层次的特点,影响着作品的思想表达,也是理解作品的一把钥匙。从格拉斯的处女作《铁皮鼓》,到《比目鱼》、《相聚在特尔格特》、《母鼠》以及两德统一后出版的《说来话长》等小说中,都能找到各种各样的互文性形式:既有与童话、神话、流浪汉小说、教育小说、历史小说等文学体裁的互文关系,也有对单个文本的指涉,如冯塔纳的小说、《圣经》、格林童话、神话以及格拉斯自己的小说等。格拉斯别具匠心地运用互文性手法,既从前文本中获取意义,又对前文本中的意义进行改变,实现了对文学传统的继承与创新。在格拉斯的小说中,互文性与历史与记忆这两个关键词形影不离,是格拉斯用来再现历史、重现过往的重要方法,能够轻而易举地将过去、现在和未来融为一体。同时,互文性也是造就格拉斯小说怪诞风格的一大原因。
Intertextuality features as a major element in Gtinter Grass＇ narratives, contributing to the richness and complexity of his writings. There are different modes of in- tertextuality in such novels as Tin Drum, The Flounder, The Meeting at Telgte, The Rat and Too Far a Field. Intertextuality may not only appear in mixed genres of fairy tales, myth, picaresque novels, and historical novels, but also in textual allusions. References to novels of Thoedor Fontane, The Bible, the fairy tales of Brother Grimm, famous mythi- cal stories and Grass＇ own novels are obvious. This paper demonstrates how Grass employs intertextuality to evoke and rewrite pretexts, and how intertextuality works as a defense mechanism of cultural memory. It points out that Grass＇ use of the grotesque can also be examined in terms of intertexuality.
出处
《当代外国文学》
CSSCI
北大核心
2010年第1期28-36,共9页
Contemporary Foreign Literature
关键词
君特·格拉斯
互文性
记忆
怪诞
Gunter Grass, intertextuality, memory, grotesque
