符码游戏与悖论空间:论麦克尤恩小说《立体几何》的反逻各斯中心主义  

Symbol Game and Paradox Space: The Anti-Logocentrism of McEwan’s “Solid Geometry”

作　　者：巩晓琳 Gong Xiaolin(School of Liberal Arts,Nanjing University,Nanjing 210008,China)

机构地区：[1]南京大学文学院

出　　处：《外国文学研究》2022年第5期141-152,共12页Foreign Literature Studies

基　　金：教育部人文社会科学基金项目“当代英国左翼戏剧中的‘工人阶级文化重塑’现象研究”(19YJC752039)。

摘　　要：伊恩·麦克尤恩早期创作的短篇小说《立体几何》书写了一个恐怖的谋杀故事。小说中一组隐藏的颠倒符码M与W,以及作为叙事线索的“无表面的平面”的空间概念,共同揭示出作者反逻各斯中心主义的意图;但小说的叙述者利用叙事话语权和所谓的知识权威企图驱逐一切符码异延构成的自由创造性,其膨胀的个人主体想要将多元世界的可能压缩回逻各斯中心主义的宰制之下。小说通篇性的反讽策略揭示出麦克尤恩对逻各斯中心主义复辟的深层担忧,小说又通过双重颠覆重返“反逻各斯中心主义”之途。Ian McEwan’s early short story, “Solid Geometry,” tells a horrible story about murder. Within the story, a pair of hidden inverted symbols, M and W, and the spatial concept of “the plane without a surface” that functions as its narrative thread, jointly reveal the author’s intention to subvert logocentrism. However, the narrator of the story attempts to expel all the free creativity from code differentiation with the narrative discourse power and the so-called knowledge authority. And his expansive individual subject wants to suppress the possibilities of a pluralistic world well within the domination of logocentrism. While the strategy of structural irony, which runs throughout the story, reveals McEwan’s deep concern about the restoration of logocentrism, the story returns to the path of “anti-logocentrism”through a double subversion.

关 键 词：伊恩·麦克尤恩 《立体几何》 符码 通篇性反讽 反逻各斯中心主义 

分 类 号：I561.074[文学—其他各国文学]