阅读量：

218

作者：

李东樵

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摘要：

托尼莫里森,是1993年诺贝尔文学奖和1988年普利策奖的获得者,她身兼作家,编辑,社会评论家,文学家和教授数职于一身, 被普遍认为是二十世纪最多产,最富盛名和最成功的非洲裔美国女作家之一.她的小说因其新颖的写作技巧,史诗般的主题,惟妙惟肖的对话以及她塑造的众多黑人角色而历来受到评论家的广泛关注.尤其是她的第五部小说《宠儿》,自1987年出版以来,评论家已从女性主义,心理分析,新历史主义,后殖民主义等多种角度对小说精湛的写作技巧和发人深省的主题进行了解释和阐明.本文仅就莫里森在《宠儿》中使用的后现代主义叙事策略进行详尽的分析. 二十世纪五十年代末六十年代初,在传统与创新等方面出现冲突这样的社会条件下,美国后现代主义文学开始兴起.片断性,高雅和通俗文化界限的打破,体裁的杂糅,以及不确定性被普遍认为是后现代主义叙事的典型特征.作为一个想要突破传统写作方法,创造自己独特写作方式的作家,莫里森受到画家的极大影响.她认为读者读自己的小说时应像欣赏一幅画作一样把各个画面拼贴起来.因此在《宠儿》中片断性写作技巧的使用是其新颖的写作方式之一.另外,作为一个非洲裔美国女作家,莫里森理所当然偏爱爵士乐,因为它是非裔美国人文化历史的传承,因此在小说的创作中也得到了广泛地运用.爵士乐独有的技巧和特征启发了莫里森许多独特的写作技巧.《宠儿》中不确定性也是小说中的另一重要后现代主义叙事技巧.以上提及的典型的后现代主义叙事技巧对于加深小说内容的丰富性,提高读者在阅读过程中的参与程度都起到了很大的作用. 为了探讨莫里森在《宠儿》中所使用的后现代主义写作技巧,本论文试图从以下几章进行探讨:导言部分阐述了后现代主义文学和小说《宠儿》之间的关系,并对国内外有关《宠儿》的评论作以综述,同时也简要概述了莫里森的生平.第一章论述了非线性叙述,拼贴和不连贯情节安排这一重要的片断性后现代主义写作技巧.第二章详细论述了爵士乐元素在《宠儿》中的体现.正如莫里森想让读者以听音乐的方式阅读小说一样,本章首先从小说的结构层面分析爵士乐的即兴创作,呼应,重复,角技以及开放性结尾等技巧在小说中的应用,然后从语言层面论述了作者是如何运用重复,分词的重复,头韵,同类名词和动词甚至整个句子的重复以及平行结构来增加小说的音乐效果的.第三章探索了体裁杂糅的叙事技巧.在《宠儿》中,历史小说,荒诞小说和爱情小说的混杂给读者留下了深刻的印象.通过这一技巧的使用,《宠儿》成功地重审了历史,使原本难以言表的内容被表述出来,从而避免了记忆可能造成的毁灭性影响.第四章聚焦于又一后现代主义叙事技巧—不确定性,对小说结构,小说人物以及在小说中反复出现的数字,颜色,植物和花可能具有的不同意义作出阐释,从而赋予了小说更广阔的阅读空间.论文的结尾部分在综述《宠儿》中后现代主义叙事技巧的同时,探讨了该小说深刻的社会意义和艺术影响.Toni Morrison is a Nobel Prize laureate in 1993 and Pulitzer Prize-winning American author in 1988. As a writer, editor, social commentator, literary critic and professor, she has been widely acknowledged as one of the most prolific, prominent and successful Afro-American woman writer in the 20th century. Her novels are known for their creative techniques, epic themes, vivid dialogue, and richly detailed black characters. Her widely acclaimed fifth novel, Beloved since first being published in 1987, has won critics' great attention. The sophisticated narrative techniques and compelling subjects of the novel have been analyzed and interpreted from a wide range of approaches like feminism, psychoanalysis, new historicism, post colonialism and so on. This thesis aims to have a detailed analysis of postmodern narrative techniques Morrison has used in Beloved. Postmodernism came to American approximately in the 1960s under certain social conditions where conflicts between tradition and innovation were anticipated. This was reflected in literature in the way that many writers during the time were pursuing new ways of writing techniques. Fragmentation, an open ending, the abolition of high culture and mass-culture, blurred genres, as well as indeterminacy, have been widely considered as the common features of postmodernism. As one of these writers who want to break through the traditional ways of writing and establish a means of their own, Toni Morrison has attained great influence from painters in such a way that she intends her novel to be read like piecing together images of pictures. Thus fragmentation has been widely used to contribute to the unique narrative techniques of Beloved. As an Afro-American writer, Morrison favors jazz, the teller of the African American culture and history, as one of the main narrative techniques in the novel. The characteristics of jazz provide Morrison with many innovative narrative techniques. Besides, Morrison often applies indeterminacy to the novel which is another important postmodern narrative technique. All these techniques, typical of postmodern narrative methods, contribute to the richness of the novel and the participation of readers. Trying to explore the postmodern narrative techniques Morrison used in Beloved, this thesis tends to advance the discussion in these consecutive chapters: Introduction reviews the relationship between postmodernist literature and Beloved, summarizes a brief criticism of Beloved, and gives a general introduction to Morrison. Chapter One deals with a very important postmodern technique, fragmentation, in Beloved. Through the analysis of non-linear narrative, collage and non-coherent plot, the author's innovative techniques to construct the structure, to captivate readers and to enrich the contents have been unfolded. Chapter Two focuses on the elements of jazz displayed in Beloved. Just as

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年份：

2010