穿行于现代与后现代之间——《凶年纪事》复调话语的空间维度  

Crossing the Modernism and Postmodernism—The Space Dimension of the Polyphonic Discourse in Diary of a Bad Year

作　　者：朱晓媛[1] 杨毅隆[1] 

机构地区：[1]云南师范大学外国语学院,云南昆明650500

出　　处：《鸡西大学学报（综合版）》2013年第9期111-113,共3页JOurnal of Jixi University:comprehensive Edition

摘　　要：后现代主义在消解了深度感、历史感和主体性之后进入了一个"杂语"的时代。巴赫金的"复调"之义正在于此,不同的语言,不同的声音彼此相互对话交流。后殖民文学代表人物J.M.库切借助于现代主义和后现代主义的表现形式,通过杂糅了虚构与非虚构,在《凶年纪事》中以其独特叙述方式向我们展示了一个多声部的世界,使作品极端地体现其复调话语无限的空间维度。Dispelling the depth perception, historical sense and the subjectivity, postmodernism steps into the world of polypho- ny, which is also the focus of Mikhail Mikhailovich Bakhtin who advocates the equal communication among different languages, dif- ferent voices. With the help of manifestation patterns of modernism and postmodernism, mixing fabrication and non - fiction narra- tive methods, the representative of post - colonialist literature, J. M. Coetzee, demonstrates us a polyphonic world with using the u- nique narration modes in Diary of a Bad Year. In the novel, which make the novel full of limitless space dimension.

关 键 词：现代与后现代 复调话语 对话性 《凶年纪事》 

分 类 号：I106.4[文学—世界文学]