《赎罪》中的立体主义叙述

发布时间：2018-10-21 08:21

【摘要】：伊恩·麦克尤恩是英国当代最有影响力的作家之一，其作品以洗练的文风和生动的内心世界描写受到西方评论界的关注。一些评论家认为他的早期小说充满了谋杀、暴力、乱伦等恐怖题材，但也有的评论家赞赏他擅长以细腻而又冷静的文笔描写现代人内在的种种不安和恐惧，积极探讨了诸多与人性相关的话题，例如死亡、爱欲和善恶等。随着麦克尤恩创作水平的不断发展和成熟，他开始更多的关注普通人的内心世界和情感状态，塑造出一群内心矛盾的现代人。其代表作《赎罪》自2001年出版以来，一直受到广泛关注，继《阿姆斯特丹》之后又一次将麦克尤恩推向了创作的高峰。小说展现了青春期的主人公布里奥尼罪的产生以及她终其一生的赎罪过程。麦克尤恩对于各种叙事技巧的高超运用也成为他近年来为人称道的重要原因之一。虽然不同评论家从不同角度对小说进行评论，但仍需要对其叙事技巧进行更深入的研究。鉴于此，本文试图通过立体主义艺术原则来分析《赎罪》的叙述特色。小说中最明显的叙述特色是先分解后重构的基本立体主义艺术创作理念。《赎罪》的叙述特征首先表现为对布里奥尼罪赎罪故事的多视角和碎片式分解，然后是小说在结构，时间空间的并置和拼贴式重构。本文分为三章。第一章首先从多视角叙事来分析整个小说的叙事视角:内视角、外视角和零视角。第二章是碎片叙述特征。碎片表现在结构碎片，故事素材碎片和梦境、想象及回忆的碎片。第三章通过时间空间和叙事线索的并置以及互文性拼贴探索了《赎罪》的重构特征。在《赎罪》中，麦克尤恩充分利用立体主义的叙事技巧，，例如多视角叙事、碎片、并置及拼贴。在他的小说中，现代人生活在现实与虚幻中艰难生存。在麦克尤恩创作过程中，通过将事实和虚构串联起来，塑造出支离破碎的人物和情节，向读者展示了一副破碎的画面。
[Abstract]:Ian McEwan is one of the most influential contemporary British writers whose works have attracted much attention from Western critics for their style of writing and vivid inner world description. Some critics think his early novels are full of horror, such as murder, violence, incest, etc, but others praise him for his skill in describing the inner uneasiness and fear of modern people in delicate and calm style. Actively discusses a number of topics related to human nature, such as death, love and evil and so on. With the continuous development and maturity of McEwan's creative level, he began to pay more attention to the inner world and emotional state of ordinary people, and created a group of modern people with inner contradictions. His masterpiece, Atonement, has received extensive attention since its publication in 2001, and has pushed McEwan to the peak of his writing after Amsterdam. The novel shows the adolescent master announcing the birth of Rioni's sin and her life of atonement. McEwan's superb use of various narrative techniques has also become one of the important reasons for his praise in recent years. Although different critics comment on novels from different angles, they still need more in-depth study of their narrative techniques. In view of this, this paper tries to analyze the narrative characteristics of Atonement through the art principle of cubism. The most obvious narrative feature of the novel is the basic idea of cubism in art creation, which is first decomposed and then reconstructed. The narrative features of Atonement are first manifested in the multi-perspective and shrapnel decomposition of the sin story of Briony, and then in the structure of the novel. Time and space juxtaposition and collage reconstruction. This paper is divided into three chapters. The first chapter first analyzes the narrative perspective of the novel from multiple perspectives: internal perspective, external perspective and zero perspective. The second chapter is the characteristics of fragment description. Fragments are represented in structural fragments, story material fragments and dreams, imagination and memory fragments. Chapter three explores the reconstruction characteristics of Atonement by juxtaposing time and space with narrative clues and intertextuality collage. In Atonement, McEwan makes full use of cubist narrative techniques, such as multi-angle narration, fragmentation, collocation and collage. In his novels, modern people live in reality and illusory difficult to survive. In the course of McEwan's creation, the facts and fictions are connected together to create a fragmented character and plot, showing the reader a broken picture.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.074

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