文化认同视阈下中美黑色幽默小说之比较——以《黄金时代》和《第二十二条军规》为例  

A Comparative Study of Chinese and American Black Humor Fiction in Light of Cultural Identity ——With a Case Study of The Golden Age and Catch-22

作　　者：唐文 Tang Wen(Linyi University,Linyi,Shandong,276005)

机构地区：[1]临沂大学外国语学院

出　　处：《语文学刊》2020年第1期79-87,共9页Journal of Language and Literature Studies

基　　金：国家社会科学基金青年项目“美国梦视阈下幽默小说的历史书写”(15CWWW028)

摘　　要：从对《第二十二条军规》和《黄金时代》的对比研究可以看出,荒诞是中美黑色幽默小说家共同关注的主题。以王小波为代表的中国新时期小说家,在对文学共生意识进行祛魅时模仿了美国黑色幽默小说家的创作方式。虽然两本小说都从阈限视阈出发描写了个人与体制带有"道德疯狂"色彩的对抗,但《第二十二条军规》着重以寓言的形式描写了荒诞背景下现代人的生存逻辑,而《黄金时代》则因第一人称叙述视角而带上了后创伤叙事的特点。It can be concluded by the comparative study of The Golden Age and Catch-22 that absurdity is the topos that both Chinese and American Black Humorists focus upon. In the disenchantment of literature symbiotic consciousness, Chinese novelists of the New Era, with Wang Xiaobo as the representative, imitated the creative methods of American Black Humorists. Both of the two novels depict the "moral insanity" personal rebellion against the system from the limineality perspective. Nevertheless, Catch-22, by application of allegory, makes a point of depicting modern people’s surviving logics in an absurd background, while The Golden Age, due to the first person point of view, takes on features of post-trauma narrative.

关 键 词：《第二十二条军规》 《黄金时代》 黑色幽默 阈限视阈 道德疯狂 

分 类 号：I106.4[文学—世界文学]