“白日梦”与文本游戏——伊恩·麦克尤恩《赎罪》的跨文本性创作分析  

“Daydreaming”and Textual Play——An Analysis of Ian McEwan’s Transtextuality in Atonement

作　　者：林斌楠 Lin Binnan(School of Foreign Languages,Zhengzhou Sias University,Zhengzhou 451100,China)

机构地区：[1]郑州西亚斯学院外语学院,河南郑州451100

出　　处：《黑河学院学报》2024年第10期123-125,159,共4页Journal of Heihe University

基　　金：郑州西亚斯学院2023年度科研资助项目“伊恩·麦克尤恩《赎罪》的跨文本性分析”(2023-D078)。

摘　　要：伊恩·麦克尤恩的《赎罪》蕴含丰富的跨文本性创作手法,主要有互文性、副文本性、承文本性。借用热拉尔·热奈特的跨文本性理论,以及西格蒙德·弗洛伊德的《作家与白日梦》中文学创作目的思想所指示的文化意义,探究《赎罪》跨本性创作的文学、文化意图。分析发现,麦克尤恩游戏式迂回地、艺术性地追求难以实现的愿望:控诉战争、讽刺社会势利、追求美好。探讨麦克尤恩的跨文本性创作不仅能够激发人们重新思考人类的战争罪行、价值观念以及社会历史责任意识,而且可以启示人们艺术创作能够创造意义,抵抗生命中的“虚无”。Ian McEwan’s Atonement contains abundant transtextuality,primarily including intertextuality,paratextuality and hypertextuality.In the light of Gérard Genette’s theory of transtextuality and Sigmund Freud’s view in Creative Writers and Daydreaming,this essay aims to explore the literary and cultural intentions of Ian McEwan’s transtextual composition.Through the analysis,it fi nds that McEwan intricately and artistically takes a detour to pursue his unsatisfi ed wishes:expressing his criticism of wars,the irony of social snobbery,and the pursuit of goodness.The exploration can not only inspire us to rethink human war crimes,values and social and historical responsibilities,but also enlighten us that artistic creation is capable of creating meaning and resisting the“nothingness”in life.

关 键 词：伊恩·麦克尤恩 《赎罪》 跨文本性 《作家与白日梦》 

分 类 号：I106[文学—世界文学]