互文性:《百舌鸟》的意义空间拓展策略  

Intertextuality: Meaning Generating Techniques in Mockingbird

作　　者：芮渝萍[1] 

机构地区：[1]宁波大学外语学院,浙江宁波315211

出　　处：《宁波大学学报（人文科学版）》2016年第2期1-5,共5页Journal of Ningbo University：Liberal Arts Edition

基　　金：浙江省哲社规划项目"美国青少年文学研究"(11JCWY18YB);教育部人文社科研究一般项目"当代美国青少年文学研究"(11YJA752016)

摘　　要：以互文方式拓展作品的意义空间是后现代文学创作的一种重要范式。互文方式多种多样,包括显性方式(如模仿、引文)和隐性方式(如改写、暗指)。《百舌鸟》充分发挥了两种互文方式的表意张力。一方面利用显性的互文标记,承续名著《杀死百舌鸟》的主题、人物类型和儿童话语;另一方面又利用隐性方式与其他文学文本构成互文关系。引文和暗指引领读者进行阅读联想,将阅读"前文本"的体会引入对"目标文本"的理解,使更多的意义联想在穿梭性阅读中生成,意义空间因此得到拓展。Intertextual relations as a means of expanding the scope of meaning has become a popular paradigm in postmodern writings. Intertextality takes diverse forms, mainly explicit（like imitation and quotation） and implicit（like transformation and allusion）. Mockingbird makes use of both of them. By using the explicit intertextual markers, Mockingbird inherits from To Kill A Mockingbird the theme, characterization and discourse of children; by using the implicit intertextual allusions, it sets up intertextual relations with other literary texts as well. With markers of quotation and allusion, readers are guided to read associatively, using their former reading experiences in the understanding of the target text. New meaning is generated and the scope of meaning is expanded in the process of crisscross reading.

关 键 词：《百舌鸟》 互文性 互文标记 互文功能 

分 类 号：I106.4[文学—世界文学]