颠覆西方传统小说的叙事原则——评约瑟夫·海勒的《第22条军规》  

The Subversion of Narrative Principle in Western Traditional Novels:a Study on Joseph Heller's Catch 22

作　　者：冉东平[1] RAN Dongping(College of Humanities, Guangzhou University, Guangzhou, Guangdong 510006, China)

机构地区：[1]广州大学人文学院,广东广州510006

出　　处：《岭南师范学院学报》2017年第4期87-92,131,共7页Journal of Lingnan Normal University

基　　金：广东省普通高校人文社科重大项目(2014WZDXM02)

摘　　要：约瑟夫·海勒的黑色幽默小说《第22条军规》颠覆了传统美学对幽默的理论界定,它将正与反、悲与喜等因素完美地统一在一起,使两种含意在语义上造成强烈的碰撞效果,以形成荒诞性。小说人物形象的碎片化、去庄严化、去中心化等使其与西方传统小说拉开了距离;作品中没有了那种高大威猛、所向披靡的英雄形象,而是一群猥琐的、胆小的、变态的、荒诞的侏儒式人物。在叙事模式上它打破西方传统线性叙事模式和时空顺序来安排情节,以跳跃式的,非自然的方法来变幻时空。小说的叙事语言具有后现代主义小说的风格,句子之间缺少因果联系的基本要素,使得小说的句子和段落在意群上具有一种碎片性、散乱性的现象。Joseph Heller＇s dark humor novel Catch 22 overturns the definition of humor in traditional aesthetics. It perfectly unifies positive and negative, sorrow and joy as well as other opposite factors, which makes strong collision effect of their different implications in semantics to create absurdity. Its char- acters are fragmentary, unimposing and decentralized, who are different from those in western traditional novels. They are not strong and invincible heroes, but sordid, timid, abnormal and absurd dwarfs. In nar- rative mode, it breaks traditional linear narrative mode and spatial and temporal order to arrange plot and it presents jumpy and unnatural temporal and spatial variation. Its narrative language has style of postmod- ernist novel. There is a lack of causal links between sentences, which makes the sentences and paragraphs fragmentary and incoherent in sense--groups.

关 键 词：黑色幽默小说 约瑟夫·海勒 《第22条军规》 

分 类 号：I106.4[文学—世界文学]