《爱的插曲》中的现实书写研究  

On the Realistic Writing in Licks of Love

作　　者：王成峰[1] 胡永近[1] WANG Chengfeng;HU Yongjin(School of Foreign Studies,Suzhou University,Suzhou 234000,China)

机构地区：[1]宿州学院外国语学院,安徽宿州234000

出　　处：《宿州学院学报》2020年第2期55-59,共5页Journal of Suzhou University

基　　金：安徽省质量工程项目(2017mooc377);安徽省教育厅人文社科研究项目(SK2018A1177);宿州学院重点科研项目(2016yzd18);宿州学院优秀青年人才支持计划资助项目(SZXYQNW2017004);宿州学院第三批优秀学术技术骨干(2018XJGG09);宿州学院专业带头人项目(2019XJZY21)。

摘　　要：以回忆为主旋律,约翰·厄普代克在其短篇小说集《爱的插曲》中以普鲁斯特式的回忆叙事,使已至中年的主人公们通过父亲的私生女、母亲养的猫、同学间的聚会、年轻时的情人等来缅怀自己的父母,追忆分离的友人或情人。这些回忆叙事是对过往"寻常"的现实记录,但厄普代克接受、吸收了惠特曼的"自我神化"思想,强调主观的超验反思,赋予"寻常"之事超验的神圣地位,使"寻常"之事"不寻常",使"寻常"的现实书写也"不寻常"。In his short stories Licks of Love,with reminiscence as the theme,John Updike allows the heroes of middle ages to commemorate their deceased parents or separated friends and lovers by the proustian remembrance narrative of the father’s illegitimate daughter,the mother’s cats,the classmate reunion or the old lover.Different from the usual remembrance narrative of depicting the past,Updike absorbs Whiteman’s"egotheism"thought,outlining subjective transcendental reflection.The ordinary was endowed with so much transcendental significance that the ordinary becomes unordinary and thus the ordinary realistic writing becomes extraordinary.

关 键 词：《爱的插曲》 回忆叙事 现实书写 

分 类 号：I106.4[文学—世界文学]