玩家艺术模式与日常生活批判:桑塔格小说创作再审视  

A Player's Artistic Mode and Critique of Everyday Life:A Re-Examination of Sontag's Fiction Writing

作　　者：顾明生[1] Gu Mingsheng(College of Foreign Studies,Nanjing Agricultural University,Nanjing 210095,China)

机构地区：[1]南京农业大学外国语学院

出　　处：《外国文学研究》2023年第3期132-144,共13页Foreign Literature Studies

基　　金：江苏省社会科学基金项目“日常生活理论视阈下桑塔格文艺批评研究”(21WWD004)。

摘　　要：书信体小说《书信场景》是美国作家苏珊·桑塔格的玩家艺术代表作品,它借助戏剧符号化用柴可夫斯基歌剧《尤金·奥涅金》中著名唱段为其核心情节,利用指称词异指现象书写独立于原歌剧的人物前传,提取原歌剧脚本的书信叙述模式并构筑出四层次证词式书信叙述,借鉴歌剧咏叹调套曲结构打造独特的情节空间和音乐空间,巧用对话式并置见证各式创伤事件、思考广阔社会生活。桑塔格的《书信场景》等玩家艺术实践是她小说创作的重要组成部分,展现出她一如既往的日常生活批判立场以及对文学遗传与演化议题的关注。“The Letter Scene,”an epistolary short story by the American writer Susan Sontag,is her representative work as a player of arts.With the help of theatrical symbols,it appropriates the famous aria in Tchaikovsky's opera,Eugene Onegin,as its core plot and portrays a character prequel independent of the opera with the same referring expressions in addressing different individuals.By taking advantage of the opera's epistolary narrative mode in building up its own four-layer epistolary narrative that looks more like testimonies in content,it draws on the cyclic form of aria in the opera not only to create its unique story space and musical space,but also to lay out various traumatic events and reflect on the broad social life by means of dialogic juxtaposition.As an important component of her fiction writing,“The Letter Scene,”along with Sontag's other practices as a player of arts,demonstrates her consistent critique of everyday life and her concern with the inheritance and evolution of literature.

关 键 词：桑塔格 《书信场景》 玩家艺术 日常生活批判 

分 类 号：I712.074[文学—其他各国文学]