“反对美国文学”——多斯·帕索斯的小说与苏联电影  

作　　者：谷恒恒 

机构地区：[1]浙江大学文学院

出　　处：《复旦外国语言文学论丛》2023年第1期70-76,共7页Fudan Forum on Foreign Languages and Literature

摘　　要：多斯·帕索斯是最早自觉将电影叙事手法运用于小说创作的现代主义作家之一,这与其初入文坛时所发表的“反对美国文学”的宣言不无关系。帕索斯不满于美国文学在清教主义文化统治下所形成的“温和的讽刺”,意图冲破其高雅外表下所遮蔽的凝滞与狭隘。在《曼哈顿中转站》中,帕索斯初步尝试了碎片化的平行蒙太奇叙事。在接触苏联蒙太奇学派的电影理论和实践之后,帕索斯可以更为成熟、辩证地处理异质元素之间的关系,为部分与整体、私事与历史寻找到一种具有内在逻辑的融合方式,通过“《美国》三部曲”书写出一部动态的工业时代的民族史诗,回应并且践行了早期“反对美国文学”的主张。Dos Passos was one of the first modernist writers who consciously applied film narrative techniques to novel,which was related to his early manifesto"against American literature".Passos was dissatisfied with the American literature dominated by the Puritan culture and characterized by"gentle satire",and intended to break through the narrowness and backwardness concealed by its elegant appearance.In Manhattan Transfer,Passos initially experimented with a fragmented parallel montage narrative.After coming into contact with the film theory and practice of the Soviet montage school,Passos can deal with the relationship between heterogeneous elements more maturely and dialectically,and found a way of integrating part and whole,privacy and history with internal logic.In the trilogy of U.S.A.,Passos wrote a dynamic national epic of the industrial age,responded to and practiced the idea of"against American literature".

关 键 词：多斯·帕索斯 《美国》 《曼哈顿中转站》 苏联电影 蒙太奇 

分 类 号：I712.074[文学—其他各国文学]