摘要
对《赎罪》归类不同,对其元小说结尾评论也依之不同:将其归入后现代小说者,多认为结尾是点睛之笔;而将其归入现实主义小说者,则认为结尾只是画蛇添足之举。《赎罪》在表层情节上符合哈钦的后现代编史元小说定义,但与编史元小说代表作《法国中尉的女人》的深层结构相比,《赎罪》却有本质区别。首先,两部作品可能因世界结构不同,从而编史元小说元素所依存的世界层次也不同;其次,二者可能因世界各层次间的互动方式不同,从而编史元小说元素的呈现方式也不同。究其动因,以《法国中尉的女人》为代表的典型编史元小说意欲暴露历史书写的语言建构本质,而《赎罪》则在后现代风潮回落的世纪之交,以编史元小说的创作元素反思后现代创作本身,集中探讨了文学创作的伦理价值这一命题。
Critics can be found to pass opposing comments on the ending of Atonement due to their differences in classifying this work. Though the plot of Atonement adapts this work to the definition of historiographic metafiction proposed by Hutcheon,it displays essential differences from the canonical historiographic metafiction The French Lieutenant's Woman,as illustrated by the comparison of their inner structures.The differences are initiated by the fact that,while historiographic metafiction as represented by The French Lieutenant's Woman intends to disclose the linguistic construction of all historical narratives,Atonement attempts to reflect on the problems of the postmodern narrative itself in the recessive era of postmodernism at the turn of the century,focusing particularly on the issue of ethical values of literary writing.
出处
《国外文学》
CSSCI
北大核心
2018年第1期110-118,共9页
Foreign Literatures
基金
国家社科基金项目"英国编史元小说的可能世界研究"(项目批号:16BWW010)的阶段性成果
