《假人》中的科幻坎普美学  

The Camp Aesthetics of Science Fiction in The Dummy

作　　者：柯英[1] KE Ying(School of Foreign Languages and Literature,Suzhou University of Science and Technology,Suzhou Jiangsu 215009,China)

机构地区：[1]苏州科技大学外国语学院,江苏苏州215009

出　　处：《杭州电子科技大学学报（社会科学版）》2023年第4期61-66,共6页Journal of Hangzhou Dianzi University：Social Sciences

基　　金：教育部人文社会科学研究规划基金项目(20YJA752006)。

摘　　要：苏珊·桑塔格的第一部短篇小说《假人》受到科幻新浪潮的影响,采用了软科幻的形式,并融合了蓄势待发的坎普感受力,体现出独特的科幻坎普美学特征。第一个特征是体验的戏剧化,叙述者从平庸的生活中抽离而出,以全知视角观察自己的替身假人履行本应由自己完成的各种日常事务,达到了在现实世界中无法实现的自省效果。第二个特征是失败的严肃性,既表现于人类的彻底自弃,也表现于人类面对机器人的觉醒而无法掌控事态的发展。《假人》的科幻坎普美学最终指向的是当代人类关注的问题,为拓展自我而追求超越。Susan Sontag s first short story The Dummy was written under the influence of the New Wave Science Fiction.The story is uniquely featured with the camp aesthetics of science fiction in that it combines the form of soft science fiction and the camp sensibility underway.The first characteristic of the camp aesthetics of science fiction is the theatricalization of experiences in which the narrator detaches himself from the mediocre life and observes his dummy to fulfill the daily duty for him.This omniscient perspective allows the literal self-examination that cannot be realized in reality.The second characteristic is the failed seriousness which is manifested both in man s absolute self-rejection and his loss of control over the situation when confronted with the machine s awakening.The camp aesthetics of science fiction in The Dummy ultimately deals with contemporary human concerns of transcendence to expand horizons.

关 键 词：苏珊·桑塔格 《假人》 科幻坎普美学 体验的戏剧化 失败的严肃性 

分 类 号：I106.4[文学—世界文学]