加拿大当代诗体小说的摄影式叙事手法  

Photography as a Narrative Method in Contemporary Canadian Verse Novels

作　　者：张雯 ZHANG Wen

机构地区：[1]上海理工大学外语学院,上海200093

出　　处：《解放军外国语学院学报》2023年第1期138-144,152,F0003,共9页Journal of PLA University of Foreign Languages

基　　金：国家社会科学基金项目“加拿大当代英语诗歌‘共同体想象’研究”(15BWW052)。

摘　　要：迈克尔·翁达杰的《比利小子作品集》与安·卡森的《红的自传》是两部加拿大当代基于既有文本与史料再创造的诗体小说。为适应诗体小说这种特殊体裁的需求,两部作品皆采用摄影艺术的叙事手法来实现主人公从被讲述到讲述者的视角转换,探索当代诗歌的内容与形式:前者侧重诸如重复、多角度、蒙太奇和时空错乱等诗歌表现手段,后者则通过摄影来反思语言的本质。二者对摄影技法的运用体现了对诗体小说与诗歌本质的思考,凸显了当代加拿大文学创作的后现代主义式的多元化走向。Michael Ondaatje’sThe Collected Works of Billy the Kidand Anne Carson’sAutobiography of Red:A Novel in Verseare two Canadian verse novels relying on historical material and artifacts to tell their stories. To adapt to this new genre, these two works introduce photography as a narrative measure to enable the protagonist’s transition from a character to the storyteller, thereby conducting a series of experiments with the narrative:Billy the Kidfocuses more on poetry writing methods, including repetition, multi-angles, montage and distortion of space and time;Reduses photography to raise the question of “ what is language?”. Ondaatje and Carson’s employment of photography represents an intriguing exploitation of this particular genre, and on a larger scale, postmodernism and pluralism in contemporary Canadian writing.

关 键 词：加拿大诗歌 诗体小说 摄影 迈克尔·翁达杰 安·卡森 比利小子作品集 红的自传 

分 类 号：I711.074[文学—其他各国文学]