从因方特对卡彭铁尔的戏仿看其文学创作观念  

On Infante's Literary Creation Concept from His Parody of Carpentier

作　　者：陈虹霏 CHEN Hongfei(School of Literature,Central China Normal University,Wuhan Hubei 430079,China)

机构地区：[1]华中师范大学文学院,湖北武汉430079

出　　处：《四川职业技术学院学报》2024年第5期121-127,共7页Journal of Sichuan Vocational and Technical College

摘　　要：古巴裔英国作家因方特的代表作《三只忧伤的老虎》中插入了片段文本《日西坠》,用以戏仿作家卡彭铁尔的名篇《追击》。首先,他省略了与文本对应的音乐结构,打破了《追击》中文本结构与音乐形式的平衡,展现出他对简短的言说方式的认同;其次,他以制造语言垃圾的方式反叛了前文本中巴洛克主义式的语言,凸显出他在创作中重视对语词的自如运用;最后,因方特通过制造对立的人物形象,暗示了他与卡彭铁尔的写作观念之争,指明他自己的创作更能够体现“古巴性”。因方特的文学创作观念都寓于他对形式的戏仿中,彰显了他通过对语言本身的运用,书写独特的记忆与经验的理念。Cuban-British writer Guillermo Cabrera Infante's masterpiece Tres Tristes Tigers inserts a fragmentary text,El ocaso,which parodies Carpentier's famous piece El acoso.First,he omits the musical structure corresponding to the text,breaking the balance between textual structure and musical form in El acoso,demonstrating his identification with the short form of speech.Secondly,he rebelled against the baroque language in the previous text by creating trash phenomenon in language,which highlighted his emphasis on the free use of words in his creation.Finally,by creating opposing characters,Infante alludes to the battle between his and Carpentier's concepts of writing,indicating that his own work is more reflective of“Cubanness”.Infante's concepts of literary creation is embedded in his parody of form,revealing his idea of writing about unique memories and experiences through the use of language itself.

关 键 词：《三只忧伤的老虎》 戏仿 文学创作观念 

分 类 号：I106.4[文学—世界文学]