从“暴青”到“后人类”——《发条橙》的人物美学形塑  

作　　者：张和龙[1] 

机构地区：[1]上海外国语大学

出　　处：《复旦外国语言文学论丛》2021年第2期66-71,共6页Fudan Forum on Foreign Languages and Literature

基　　金：国家社科基金项目“英国小说人物美学沿革与社会主体困境表征研究”(项目编号:16BWW038)。

摘　　要：在《发条橙》中,伯吉斯塑造了一个典型的暴力青年形象,同时又以虚构的"路德维克疗法"建构出了一个"后人类"的艺术形象,展示了独树一帜的人物审美意识,深化了英国反乌托邦小说的美学内涵。本文主要探讨伯吉斯如何以"暴力人物美学"表达对二战后英国社会现实的批判,揭示更为深广的人类问题,同时论述伯吉斯如何以超前的艺术手法形塑一个被政治权力与现代科技改造而成的"后人类",如何以"上了发条的橙子(人)"来隐喻国家机器与科技的合谋及其产生的可能后果,探析这部小说所隐含的后人类主义主题与美学内涵。In A Clockwork Orange,the protagonist is first depicted as an ultra-violent young man in a realistic way,but he is then transformed into what might be called a“posthuman”by the Ludovico Technique—a fictional therapy.With such imaginative characterization,Anthony Burgess makes criticism of the social problems in the UK in the 1960 s and displays his further concern with some deeper issues in an aesthetic treatment of violence on the one hand,and on the other hand,he warns of the“conspiracy”of political power and technology together with its consequence in a pioneering representation of a“posthuman.”With“a clockwork orange”as an effective metaphor now,he presents to us a unique posthumanism.

关 键 词：伯吉斯 《发条橙》 人物美学 后人类 反乌托邦 

分 类 号：I561.074[文学—其他各国文学]