后现代城市意象与小说《大都会》的反商业化写作  

Postmodern City Images and Anti-commercialism in Don De Lillo 's Cosmopolis

作　　者：佘军[1] 

机构地区：[1]南通大学外国语学院,江苏南通226019

出　　处：《南通大学学报（社会科学版）》2017年第5期81-87,共7页Journal of Nantong University:Social Sciences Edition

基　　金：江苏省高校哲学社会科学基金项目(2014SJD614);江苏省社会科学基金项目(16WWB002)

摘　　要：当代美国作家唐·德里罗的小说《大都会》通过主人公的纽约城内一日行展现了纽约第47大街高耸的建筑、拥堵的交通、抗议全球化示威游行、都市葬礼、电影街拍现场等多个典型的后现代城市意象。最高公寓楼与白色豪华轿车隐喻了难以抑制的后现代都市商业欲望;交通拥堵与街头骚乱暗指拥簇无序的后现代都市商业文明;而街头葬礼与电影街拍则揭示后现代商业化都市灵魂无处安放的本质。在这些后现代城市意象描写的字里行间,德里罗表达了强烈的反商业化思想。小说《大都会》揭示了德里罗反思后现代城市文明的人文主义情怀,寄予了德里罗对后现代城市文明未来走向的忧思,体现了德里罗的后现代现实主义创作思想。The contemporary famous American writer Don De Lillo records in his novel Cosmopolis such postmodern New York City images as the high-rise apartment building, a heavy transport, a protest against globalization, a city funeral of a pop star and a movie shooting scene on the 47 th street by telling a story of the protagonist＇s one-day trip in the city. Firstly, the high-rise apartment building and the white limousine are metaphors of the irresistible commercial desires in the postmodern cosmopolis. Secondly, the heavy transport and the street riots allude to the messy quality of the postmodern commercial civilization. Thirdly, the street funeral and the movie shooting scene indicate the dislocation of the souls in the commercialized postmodern cosmopolis. Beneath the descriptions of those city images can be found De Lillo＇s thoughts of anti-commercialism in writing. The novel Cosmopolis displays Don De Lillo＇s humanistic thoughts and meditations towards the postmodern city civilization and his postmodern realistic writing technique as well.

关 键 词：唐·德里罗 《大都会》 后现代城市 反商业化 后现代现实主义 

分 类 号：I712.074[文学—其他各国文学]