叙事中探索图像文化:詹妮弗·伊根小说《塔楼》研究  

Exploring The Image Culture Through Narrative:A Study of Jennifer Egan's The Keep

作　　者：聂宝玉[1] 

机构地区：[1]河南农业大学英美文学研究中心外国语学院,河南郑州450046

出　　处：《外国语文》2017年第3期42-46,共5页Foreign Languages and Literature

基　　金：河南省软科学研究项目"后现代语境下河南省高等院校大学英语文化体验教学研究"(162400410280);河南农业大学人文社会科学类青年创新基金"传统的‘后后现代’叙事--詹妮弗.伊根作品研究"(KJCX2015B06)阶段性研究成果

摘　　要：在小说《塔楼》中,伊根创新地以男性声音讲述故事,以开放的结局颠覆传统叙事,这不但赋予了哥特式小说新的活力,也形成了文本是要由作者掌控的独特风格。《塔楼》采用元小说叙事的方式,小说中正在讲述故事的人物声音往往被另一叙事者打断。然而,伊根颠覆传统哥特式小说叙事的同时又保持叙事的完整性和人物刻画的多样性,小说人物都被刻画得有血有肉,他们或者是身体上或者是精神上处于被"囚禁"状态。通过作品叙事,伊根以俯瞰的角度审视当代图像文化,探讨图像文化相关主题,探讨人与科技的联系,以及这种联系是如何改变人们的自我认知以及人与人之间的相互认识,从而使读者意识到在高科技蔓延的时代,人们往往应对的是转瞬即逝的虚拟事物,而非真实的实体,不同人衡量这些事物在交流中的意义的标准也各不相同。Renovating the Gothic tradition by applying a male voice to narrate the story and by leaving it an open ending in The Keep, Jennifer Egan revitalizes the Gothic fiction and at the same time makes it her own because she sustains awareness that the text is being manipulated by its author. The metafictional narrative in the story is signaled by the interruptions of another character＇ s voice into the ongoing narrative of the main story. Egan＇ s tactics, however, do not come at the expense of character and story; all the characters in this fiction are imprisoned either physically or mentally. By deploying narrative strategies and imprisoned characters in The Keep, Egan takes a bird＇ s eye view of the image culture through narrative. She concerns about issues in and around image culture, it explores our connectedness with technology and how that connection changes the way that who we are to ourselves and who we are to each other. So often we are dealing with something ephemeral and virtual instead of actual beings, our measure of what they mean to communication is very different as well.

关 键 词：詹妮弗·伊根 《塔楼》 哥特式叙事 元小说叙事 图像文化 

分 类 号：I712.074[文学—其他各国文学]