摘要
作为犯罪文学次文类(subgenre)之一的侦探小说常常被视为游戏,它的基本游戏范式"猫捉鼠"内涵丰富,充满隐喻暗示。这个范式中的"旅行叙事"总是万变不离其宗地涉及罪犯被流放、犯罪嫌疑人位移或逃亡,主动或被迫出行始终是侦探小说不可或缺的情节。作为一种特殊的"旅行叙事",从索福克勒斯、爱伦·坡直至阿加莎·克里斯蒂、格雷厄姆·格林……历代作家均刻意描写这类人物的流放、位移或逃亡。这些主动或被迫的出行者改换环境,使作品叙事空间变得更复杂,为侦探与罪犯之间的较量增加不确定性。它凸显文学,尤其是犯罪文学中"人与规训对抗"的潜性哲理,意味深长。
Detective fiction,a modern subgenre of crime literature,is evocatively regarded a game of"catching me if you can",owing to its highly formulated narrative structure. A banishment,a displacement,or an escape of the suspect constitutes the dramatic plot. A weary or adventurous journey actively or passively taken is indeed an essential part of the allusive or metaphorical paradigm of the game,as read in seminal works of Sophocles,Allan Poe,Agatha Christie,and Graham Greene. The toils of the unfortunate wayfarer may cause changes of the milieu,and increase the intensity of suspense,betraying the"expression of one’s encounters with the Law"( Roland Barthes) hidden underneath all supposedly escapist stories.
出处
《广东外语外贸大学学报》
2021年第5期88-96,159,共10页
Journal of Guangdong University of Foreign Studies
基金
国家社会科学基金后期资助项目“中外文学中的‘罪’研究”(17FWW006)
中央高校基本科研业务费专项资金项目(人文社会科学类)“本土‘载道’与西方‘担当’文学理论比较研究”(18LZUJBWZY056)。
关键词
犯罪文学
旅行叙事
流放、位移与逃亡
猫鼠游戏
crime literature
journey narrative
banishments,displacement and escape
game of"catching me if you can"
