唐·德里罗《坠落的人》中的后“9·11”景观  

The Post-9/11 Spectacle in Don De Lillo's Falling Man

作　　者：李顺春[1] 李寒 

机构地区：[1]江苏理工学院 [2]江南大学

出　　处：《当代外国文学》2015年第1期35-42,共8页Contemporary Foreign Literature

基　　金：2013年度江苏省哲学社会科学文化精品研究课题"美国后‘9.11’小说的恐怖主义诗学研究"(13Jsskyjwhw-02)之阶段性成果

摘　　要：唐·德里罗后"9·11"经典之作《坠落的人》从不同视角展现了美国的后"9·11"景观。双子塔楼的恐怖景观是一种景观炫示、秀场狂欢,亦是恐怖景观外化之表现。它对幸存者及其他所有人皆带来创伤性的影响,亦成为人们反思全球化与恐怖主义关系之开端;全球化的暴力景观是不同话语冲突之语义场,而小说中的反叙事则从另一维度呈现全球化之暴力景观;坠落表演的图像景观成为"9·11"恐怖袭击事件后记忆的符号,亦隐含着人类堕落的神学寓意,更成为后"9·11"时代人类生存状况之象征。Don De Lillo＇s novel Falling Man, a post-9/11 classic, showcases the Post-9/11 spectacle from various perspectives. The terrorist attack on the Twin Towers is represented as a spectacular display, a carnival, and a symbol of terror externalized, which produces traumatic effects on survivors and all the others, shocking them into reflecting on the nexus between globalization and terrorism. Globalized violence constitutes a semantic field in which different discourses come into conflict, while the novel provides a counterdiscourse to consider globalized violence. The haunting image of the falling man, with its biblical allusion to human depravity, also indicates the existential crisis of survivors in the post-9/11 era.

关 键 词：唐·德里罗 《坠落的人》 后“9·11”景观 

分 类 号：I712.074[文学—其他各国文学]