《拍卖第四十九批》与“超现实”都市景观书写  

The “Hyperreal” Urban Landscape in Pynchon’s The Crying of Lot 49

作　　者：张海榕[1] Zhang Hairong(the College of International Languages and Cultures,Hohai University,Nanjing 211100,China)

机构地区：[1]河海大学外国语学院

出　　处：《外国文学研究》2019年第5期146-156,共11页Foreign Literature Studies

基　　金：国家社科基金重大项目“美国文学地理的文史考证与学科建构”(16ZDA197);教育部人文社科一般项目“美国都市文学与美国都市的空间生产研究”(19YJA752025);江苏省社科基金“美国都市文学研究”(17WWB003)~~

摘　　要：托马斯·品钦在小说《拍卖第四十九批》中描绘了三大都市景观类型:"超现实"都市模型、"拟真式"太平洋与湖滨社区以及"内爆式"都市中心,书写了美国20世纪60年代"超现实"涌入社会现实的都市异化之景。品钦一方面指出"超现实"都市景观的营造人为地破坏了加州的生态环境,另一方面揭示出"超现实"都市本质及其秘隐的消费主义意识形态与符码控制,由此展现都市人试图走出加州"超现实"都市景观地理迷宫的种种尝试与努力,验证了资本的空间生产与景观的符号控制之间的内在关联,解密了媒体借助符码制造"超现实"后现代都市的过程。With a representation of three types of metropolitan cityscape, namely, a "hyperreal" city model, a "simulative" Pacific Ocean and a Lakeside Community, and an "implosive" City Center, in his novel, The Crying of Lot 49, Thomas Pynchon depicts a scene of alienation in American cities, in which "hyperrealities" are mixed up with social realities, during the 1960 s. On the one hand, he points out that the construction of such hyperreal cityscapes has irrationally destroyed the ecological environment in California;on the other hand, he reveals the hyperreal nature of the city model, along with its ideology of consumerism and the code control. He aims to show how citizens made various attempts and endeavors in order to get out of the geographical labyrinth of the hyperreal cityscapes, validate the inner connections between capital’s spatial production and code control, and decode the entire process, in which the media tries to construct a hyperreal postmodern city with codes.

关 键 词：《拍卖第四十九批》 托马斯·品钦 超现实 都市景观 

分 类 号：TU9[建筑科学]