艾滋病的跨界书写——以吉贝尔的作品为例  

The Transgressive and Transmedial Writing of AIDS in Herve Guibert

作　　者：陆一琛 Lu Yichen(School of Foreign Languages,Soochow University,Suzhou,Jiangsu Province,China)

机构地区：[1]苏州大学外国语学院,江苏苏州215006

出　　处：《外国文学》2021年第4期47-57,共11页Foreign Literature

摘　　要：法国当代作家艾尔维·吉贝尔因出版披露福柯死因和自己罹患艾滋病事实的自传体小说《给没有救我命的朋友》而家喻户晓。吉贝尔的成名作"艾滋病三部曲"的叙事张力源自于其书写跨体裁、跨媒介的特殊性:一方面,在罹患艾滋病的真实境遇下,如实记录病情进展的迫切性与借助文字媒介特有的虚构性重塑现实、改变死亡命运的心理需求使得书写在真实与虚构之间、自传与小说之间摇摆不定;另一方面,部分影像与小说所构成的跨媒介互文关联极大地强化了媒介的表现效果和表意效能。只有在突破虚实之界和媒介之限的双重跨界视域下,吉贝尔的艾滋病书写才能显现出其"史诗般"的独特魅力,成为近现代疫病书写史上无法取代的重要篇章。As a contemporary French writer,Herve Guibert is known worldwide for having revealed the details of the death of Michel Foucault and his status as a patient of AIDS in his autobiographical novel To the Friend Who Did Not Save My Life.The tension of writing in the AIDS trilogy consists particularly in its transgressive and transmedial dimensions.On the one hand,there is the imperative to follow the evolution of the disease through the body afflicted with AIDS,which is in perpetual contradiction with the intention to survive through a fictitious writing.On the other hand,certain cinematic images in his documentary weave intertextual links with the romantic narrative,which creates unexpected expressive effects.It is from this perspective of a double transgression—between the real and the fictitious,between the visual and the verbal—that the Guibertian epic writing reaches its full meaning.

关 键 词：艾滋病 疫病书写 自我虚构 跨媒介叙事 

分 类 号：I565[文学—其他各国文学]