论昂达奇小说《经过斯洛特》的后现代叙事策略  

A Study of Postmodern Narrative Strategies in Michael Ondaatje's Coming Through Slaughter

作　　者：刘坤 LIU Kun(College of International Studies,Nanjing Medical University,Nanjing 211166,China)

机构地区：[1]南京医科大学外国语学院,南京211166

出　　处：《成都师范学院学报》2018年第10期110-116,共7页Journal of Chengdu Normal University

基　　金：江苏省高校哲学社会科学研究基金项目"迈克尔.昂达奇作品的暴力主题与政治文化内涵研究"(2017SJB0291)

摘　　要：迈克尔·昂达奇在小说处女作《经过斯洛特》中大胆尝试形式革新,借助多重叙述视角的轮番叙述,非线性叙事,元小说叙事等后现代叙事策略重新书写了历史人物巴迪·博尔登的人生故事。后现代叙事策略的使用增强了叙述的不确定性,颠覆和重塑读者对真相概念的认知,传递了作家特有的后现代真相观。与此同时,后现代叙事使得官方历史和小写历史发生碰撞与对抗,作品由此想象了历史的另一重可能。In his first novel Coming Through Slaughter , Michael Ondaatje undertook bold experiments in literary form, employing a number of postmodern narrative strategies such as alternative narratives by multiple narrative perspectives, nonlinear narrative, and metanarrative, to rewrite the life story of a historic figure Buddy Bolden. The employment of these postmodern narrative strategies intensifies narrative uncertainty, as well as subverts and reconstructs readers＇ perception of the idea of truth, conveying Ondaatje＇s own understanding of truth in the postmodern age. In the meanwhile, it makes possible the collision and confrontation between official history and unofficial histories, hence the imagination of alternative possibilities of history.

关 键 词：迈克尔·昂达奇 《经过斯洛特》 后现代叙事 真相 历史 

分 类 号：I711.074[文学—其他各国文学]