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闡釋美國當(dāng)代社會:德里羅作品的互文性研究

發(fā)布時間:2016-09-22 18:05

  本文關(guān)鍵詞:闡釋美國當(dāng)代社會:德里羅作品的互文性研究,,由筆耕文化傳播整理發(fā)布。


        在美國當(dāng)代作家中,唐·德里羅的文學(xué)地位是不能忽視的。迄今為止,他已經(jīng)連續(xù)發(fā)表了16部長篇小說、1部中篇小說、9個劇本以及若干短篇小說、散文等。德里羅是一位極具天賦的作家,他的第一部小說《美國志》便為他贏得了評論界的贊譽(yù)。1985年,他的《白噪音》獲美國國家圖書獎,此后更是名聲大震,被譽(yù)為優(yōu)秀的當(dāng)代美國作家和敏銳的當(dāng)代美國社會生活批評家,引起了評論界的廣泛關(guān)注。然而,盡管學(xué)界對德里羅的作品研究取得了很大的進(jìn)展,但仍然存在令人困惑之處。為了對德里羅的作品有一個更全面、更深入的解讀,本文運(yùn)用互文性理論,以米哈伊爾·巴赫金、朱莉亞·克里斯蒂娃、羅蘭·巴特、杰勒德·熱內(nèi)特以及哈羅德·布魯姆等學(xué)者關(guān)于互文性的學(xué)說為主要理論框架,并結(jié)合運(yùn)用新批評、文化研究、新歷史主義等批評方法,對德里羅作品中的互文性做全面深入的分析,旨在說明,互文性敘事不僅是德里羅最主要的敘事方式,使其作品呈現(xiàn)出多重聲音交雜的特點,也是他對美國當(dāng)代社會進(jìn)行批判的有力武器。論文由引言、正文五個章節(jié)和結(jié)語三部分組成。引言部分簡要介紹德里羅的文學(xué)成就、評論界對其作品的評述以及本文的觀點和框架。第一章“互文性及德里羅的互文性創(chuàng)作”從整體上梳理互文性理論的起源與發(fā)展軌跡以及德里羅的互文性創(chuàng)作特點,指出采用互文性這一理論視角探討德里羅作品的研究價值與現(xiàn)實意義�!盎ノ男浴边@一術(shù)語最早產(chǎn)生于20世紀(jì)60年代,由法國文學(xué)批評家和女性主義者朱莉亞·克里斯蒂娃根據(jù)索緒爾的語言符號理論和巴赫金的“對話”和“復(fù)調(diào)”理論提出,意指文本存在于與其他文本的關(guān)系之中。這一理論提出后,沿著兩條軌跡發(fā)展:一條是結(jié)構(gòu)主義的路徑,熱內(nèi)特和拉法雷等結(jié)構(gòu)主義者從狹義的路徑出發(fā),認(rèn)為互文性是一個文本與存在于此文本的其它具體文本之間的關(guān)系;另一條是解構(gòu)主義的路徑,巴特和德里達(dá)等后結(jié)構(gòu)主義者趨向于對互文性概念做寬泛的解釋,認(rèn)為任何文本與賦予該文本意義的各種語言、知識代碼和文化表意實踐之間有著相互指涉的關(guān)系。依據(jù)這一理論,筆者發(fā)現(xiàn),互文性特征在德里羅的作品中得到了淋漓盡致的體現(xiàn)。他的作品不僅在內(nèi)部以及與他人的文學(xué)作品和傳統(tǒng)文學(xué)體裁之間形成互文關(guān)系,還與社會、歷史的大文本形成互動對話關(guān)系。因此,本文采用互文性這一理論視角,分析德里羅整個文學(xué)作品中的互文性特點,以期說明互文性理論對研究德里羅作品的價值和意義。第二章“自我指涉與自我引用:德里羅作品中的內(nèi)互文”主要考察德里羅作品中的內(nèi)部互文關(guān)系。內(nèi)互文是指同一文本內(nèi)部各要素或者是同一個作家各作品之間的互文關(guān)系。內(nèi)互文是德里羅作品的一個顯著特點。首先,德里羅注重副文本對正文本的闡釋作用。他的副文本如封面、標(biāo)題、副標(biāo)題、題獻(xiàn)以及后記等跟正文本相互交織、相互印證。筆者主要選取《地下世界》的封面,《白噪音》、《天秤星座》、《地下世界》、《墜落的人》的標(biāo)題,《天秤星座》的題獻(xiàn)以及后記進(jìn)行研究和分析,雖然這些副文本看似不起眼,卻對德里羅作品的解讀起到至關(guān)重要的作用。其次,德里羅的作品呈現(xiàn)一種相互參照、相互指涉的體系。他在創(chuàng)作中頻繁引用自己之前發(fā)表過的作品,比如,鴻篇巨制《地下世界》包含他之前發(fā)表過的五篇短篇小說。他還變相重復(fù)自己先前作品中出現(xiàn)過的場景、人物、主題及敘事結(jié)構(gòu),比如,他的好幾部作品中都有一個哲學(xué)家式的人物,雖然這些人物名字不同,職業(yè)各異,卻都能言善辯,參透事務(wù)的本質(zhì),對當(dāng)代美國文化做出理性的闡釋。德里羅大量引用和變相重復(fù)自己的作品,并不意味著他已江郎才盡,而是以他獨(dú)特的方式從新的角度重審自己的前文本,從而對美國當(dāng)代社會的主要問題進(jìn)行多次強(qiáng)調(diào),以期引起世人的關(guān)注。此外,德里羅在創(chuàng)作中有意或無意地揭示自己的創(chuàng)作痕跡,使其作品呈現(xiàn)出元小說的互文特點。元敘述的手法既生成了他作品的內(nèi)在節(jié)奏,呼應(yīng)著作品的整體結(jié)構(gòu),又有助于他表達(dá)自己的創(chuàng)作理念,使讀者領(lǐng)略到他獨(dú)特的敘事方式。第三章“書寫與重寫:德里羅對文學(xué)傳統(tǒng)的繼承與反叛”主要圍繞引用、暗指、仿作與戲仿等互文性寫作手法分析德里羅的作品與文學(xué)文本和傳統(tǒng)文學(xué)體裁之間的互文關(guān)系。德里羅的廣泛閱讀為其文學(xué)創(chuàng)作奠定了堅實的基礎(chǔ)。他在訪談中多次提到,他的創(chuàng)作受到喬伊斯、�?思{、納博科夫、海明威、貝克特、品欽等作家的影響。通過互文性策略,他非常巧妙地將無數(shù)文學(xué)資源應(yīng)用于自己的文學(xué)創(chuàng)作。首先,他引用別人的表達(dá)、語句、段落以及在作品中暗指別的作家和作品,比如,他的第三部戲劇《尾穗莧》的標(biāo)題來自華茲華斯的同名詩歌,小說《大都會》的開篇引語來自波蘭詩人赫伯特的詩歌“圍城記事”。他也在多部作品中暗指喬伊斯和他的作品。這些引用和暗指對他的人物刻畫和主題表達(dá)起到了積極的作用。其次,他模仿不同作家的人物塑造、意象、場景、情節(jié)及敘述風(fēng)格。他模仿品欽的人物刻畫、貝克特的語言風(fēng)格、納博科夫的文學(xué)場景以及喬伊斯的敘事手法等。他引用、暗指以及模仿是為了適應(yīng)一直都在變化的新的敘事情境。通過這些互文性寫作手法,他在創(chuàng)作中表達(dá)了對其他作家的崇敬,并顯示了他對文學(xué)傳統(tǒng)的繼承。但是,德里羅的創(chuàng)作絕不是簡單地對他人作品的重復(fù)。在繼承文學(xué)傳統(tǒng)以及模仿他人作品的同時,他又通過戲仿等手法來顛覆它們以及類似的前文本,體現(xiàn)了他自身的文學(xué)才能與文學(xué)想象。戲仿是德里羅常用的文學(xué)創(chuàng)作手法。他經(jīng)常依賴傳統(tǒng)文學(xué)體裁,但往往對那些敘事模式進(jìn)行改寫、轉(zhuǎn)換、甚至是嘲諷,挑戰(zhàn)既定的文學(xué)敘述以確立自己的敘述風(fēng)格,對美國當(dāng)代的現(xiàn)實進(jìn)行深刻的批判。在小說《走狗》中,他一開始遵循懸疑小說的特點,但又不按懸疑小說的套路發(fā)展故事,在戲謔中展現(xiàn)當(dāng)今社會政治和文化的戲劇化。在《白噪音》中,他模仿偵探小說的元素,但又顛覆讀者的期待,嘲弄偵查的局限。在《人體藝術(shù)家》里,他制造哥特式小說的氣氛,但正當(dāng)讀者期待看到女主人與怪物斗爭之時,他改變了策略,在嘲弄式的敘述中讓讀者思考時間、創(chuàng)傷、死亡等主題。因此,通過互文的手法,德里羅在繼承傳統(tǒng)的同時確立了他獨(dú)特的敘述模式和風(fēng)格,也表達(dá)了他對社會現(xiàn)實問題的關(guān)注。第四章“文學(xué)與媒體:德里羅與媒體文化的對話”重點研究德里羅的作品與媒體文化的互動對話關(guān)系。德里羅在紐約長大并在紐約接受教育,1958年獲得交際藝術(shù)學(xué)士學(xué)位后就職于一家廣告代理公司,因此深受當(dāng)代媒體文化的影響。他曾在訪談中多次提到,紐約現(xiàn)代藝術(shù)博物館的畫作、爵士樂、歐洲電影和格林尼治村的先鋒藝術(shù)給他以巨大的影響。德里羅對當(dāng)代媒體文化情有獨(dú)鐘,總能從中找到創(chuàng)作的靈感。首先,他的作品與電影緊密相連。從內(nèi)容上,他不僅使用電影意象,將影星和導(dǎo)演作為他作品中的人物,還經(jīng)常引用和改編電影作品,尤其是法國著名導(dǎo)演戈達(dá)爾的作品。在技巧上,他模仿電影腳本式的語言,使用電影蒙太奇式的敘述策略,將電影拍攝與剪輯技巧,如手持跟拍與跳接等,應(yīng)用于文學(xué)創(chuàng)作,擴(kuò)寬了文學(xué)的敘述方式。其次,他在創(chuàng)作中常借助于繪畫與音樂。彼得·勃魯蓋爾的畫作《死亡的勝利》、意大利畫家喬治·莫蘭迪的靜物畫都被他非常巧妙地嵌入作品,對他的人物刻畫和主題表達(dá)起到關(guān)鍵的作用。德里羅也喜歡將歌星做為他作品中的主人公并在作品中嵌入歌曲。在小說《瓊斯大街》中,他以搖滾歌手鮑勃·迪倫為原型塑造主人公,刻畫音樂人的困惑和焦慮,借以表現(xiàn)媒體社會的破碎性和疏離感。此外,德里羅的作品是對當(dāng)代媒體文本的拼貼,電視節(jié)目、廣播節(jié)目、報刊文章、商業(yè)廣告以及其他各類當(dāng)代媒體文本都被他不時地植入作品。通過對媒體文本的反復(fù)引用以及與媒體的緊密互動,德里羅成功地向讀者展示了一個被媒體文化所“浸透”的當(dāng)代美國社會,暗指當(dāng)今世界正受到媒體的圍剿與威脅。德里羅一直嘗試新的技巧和寫作模式,身為媒體社會的一員,他一方面從當(dāng)代大眾傳媒中吸取營養(yǎng),擴(kuò)寬了文學(xué)的疆界與范圍,同時也通過與媒體的互文性書寫表達(dá)了他對后工業(yè)社會人的生存狀態(tài)的關(guān)切以及對無孔不入的媒體的批判。第五章“歷史與記憶:德里羅作品中的歷史”主要探討德里羅的作品與歷史的互文關(guān)系。作為一個具有強(qiáng)烈歷史意識的作家,歷史永遠(yuǎn)是德里羅關(guān)注的對象。在他的整個作品當(dāng)中,尤其是在他的后期創(chuàng)作中,文史互動糾纏交錯。他不僅喜歡在作品中引入歷史人物、插入歷史文獻(xiàn),還喜歡對歷史卷宗做出評論,吸收以及轉(zhuǎn)換歷史文本。本章主要對他后期的三部小說——《天秤星座》,《地下世界》,《墜落的人》——進(jìn)行了詳細(xì)的文本分析�!短斐有亲芬钥夏岬峡偨y(tǒng)遇刺事件為背景,圍繞兩條線索展開:一條線講述總統(tǒng)遇刺前李·哈維·奧斯瓦德的生活,另一條線講述前中央情報局的官員怎樣密謀殺害總統(tǒng)。穿插在這兩條線索之間的是一個叫布蘭奇的人物受委托書寫總統(tǒng)被刺歷史的故事。在這部作品中,德里羅在大量引用沃倫委員會報告的同時對其提出質(zhì)疑,在事實與虛構(gòu)的空間里為肯尼迪總統(tǒng)被刺事件提供新的關(guān)注視角�!兜叵率澜纭分饕v述冷戰(zhàn)時期的歷史。在這部長達(dá)827頁的小說中,德里羅以美國從二十世紀(jì)五十年代到九十年代長達(dá)半個世紀(jì)之久的歷史標(biāo)志性事件為線索,將目光投向正史之外的歷史裂隙,主要描述那些未被發(fā)現(xiàn)、被遮蔽的歷史,從而對美國官方冷戰(zhàn)勝利主義提出質(zhì)疑。《墜落的人》以美國紐約9/11事件為背景,主要圍繞幸存者39歲的律師基思以及他的家人在9/11恐怖襲擊之后的日常生活展開,將宏大的歷史事件在普通人身上展現(xiàn)出來,精準(zhǔn)地刻畫了恐怖主義對普通百姓所造成的身心創(chuàng)傷。更重要的是,在《墜落的人》中,德里羅還給通常被妖魔化以及被壓制的恐怖分子以言說的機(jī)會,通過對劫機(jī)者之一哈馬德的描繪,敘述了他的生活歷程、心理狀態(tài)、以及如何被逼從事恐怖活動的過程�!秹嬄涞娜恕分饕P(guān)注主流背后不為人知的歷史,德里羅這種反敘事的策略體現(xiàn)了歷史的多面性及多元化�?傊�,歷史為德里羅的創(chuàng)作提供了源泉與動力。通過與歷史的互文,他打破了歷史與虛構(gòu)的界限并對歷史與記憶做出評估與重審,為歷史事件提供了新的觀察視角。論文的結(jié)語部分首先總結(jié)德里羅小說中的互文性特點,然后重申互文性寫作對德里羅的意義�;ノ男载灤┯诘吕锪_作品的始終,是他作品最顯著的特點。然而,不管他的互文對象是什么,他關(guān)注的焦點始終是美國,一個他既愛又恨的國家。在他長達(dá)四十年的創(chuàng)作生涯中,德里羅不斷地試驗各種敘述方式,不斷地擴(kuò)展寫作題材,不懈地探索美國社會的本質(zhì),從而勾勒出一幅美國社會的全景圖。所有這些,如果不借助于互文性敘事,德里羅是很難做到的。

    With sixteen novels, one novella, nine plays, and numerous short stories and essays under his belt, Don DeLillo’s place in contemporary American literature cannot be denied. As a talented author, he has won critical acclaim since the publication of his first novel Americana in1971. With his receiving of the National Book Award for White Noise in1985, he has become the object of greater recognition and praise and has been recognized as one of the finest contemporary writers and most astute social critics of contemporary American life. DeLillo has received a great deal of critical attention. However, despite strenuous critical efforts and thoughtful interpretations of his works, there are still puzzling points about him. To have a better understanding and appreciation of his writing, the theory of intertextuality is applied in this dissertation. Based on the theories on intertextuality by Mikhail M. Bakhtin, Julia Kristeva, Roland Barthes, Gerard Genette, and Harold Bloom, together with the critical theories and methods of New Criticism, Cultural Studies, and New Historicism, this dissertation aims at giving a comprehensive and detailed study of intertextuality in DeLillo’s writing. With a comprehensive research on most of his works, this dissertation demonstrates that intertextuality is not only a main feature of DeLillo’s writing, making his works exhibit characteristics of polyphony and heterogeneity, but also is a powerful tool for him to carry criticism of contemporary American society.This dissertation consists of three parts:the introduction, five chapters and the conclusion. The introduction part gives a general survey of DeLillo’s literary achievements and a brief review of DeLillo studies in academia and also presents the basic views and general structure of this study.Chapter One,"Intertextuality and DeLillo’s Intertextual Writing", serves to elaborate the theory of intertextuality, to offer a brief sketch of DeLillo’s intertextual writing and to point out the significance of studying DeLillo’s works from the perspective of intertextuality. The term "intertextuality" was first coined in the1960s by the French literary critic and feminist Julia Kristeva who based her discovery on Saussure’s theory of linguistic sign and Bakhtin’s theory of "dialogism" and "?olyphony." In general, the explanation on this theory can be divided into two main paths:the structuralist path, or the narrow intertextuality and the poststructuralist path, or the broad intertextuality. Structuralists such as Genette and Riffeterre hold that intertextuality refers to the obvious relationship between a text and other texts that exist in the former. Whereas poststructuralists such as Barthes and Deridda tend to give it a broad and general explanation and hold that intertextuality not only refers to the relationship between literary texts but also refers to the relationship between any text and the total knowledge of this given text, code, and signifying practice. Based on this theory, I find that DeLillo’s works are rife with examples of intertextuality--between his texts and those of other artists and traditional literary genres, between fiction and media, between fiction and history, and within his own works.Chapter Two,"Self-reference and Self-citation:Intratextuality in DeLillo’s Works", deals with intratextuality, or internal textual relations, within DeLillo’s own writing. Intratextuality is one of the striking features of DeLillo’s works. First, his paratexts such as covers, titles, subtitles, dedications and author’s notes interweave and corroborate with his texts. I mainly examine the original cover of Underworld, titles of White Noise, Libra, Underworld, Falling Man, dedication and author’s note in Libra. I find that, these paratexts, no matter how minimal they are, form a close relationship with his texts, perform the role of illuminating the latter, and are conducive to a comprehensive reading of his works. Second, taken as a whole, DeLillo’s works build upon a continuous chain of cross-references and interplay. He frequently incorporates his formerly published short stories into his subsequent novels. For example, five formerly published short stories are woven into portions of his magnum opus Underworld. He also repeats scenes, characters, motifs and narrative structures in disguised ways. For instance, philosopher-like characters appear in many of his works. Though they are different in name and profession, all of them have a special ability to talk and can always see through things and provide intelligible views. They are analysts of contemporary America. DeLillo’s extensive self-citation and repetition do not mean that his resource is exhausted; on the contrary, it is in this unique way of citing his former works or repeating scenes, characters or motifs he has used in his earlier writing that he reexamines his previous texts from a different perspective and stresses what he thinks as the main points of contemporary life so as to attract public attention. In addition, DeLillo consciously or unconsciously exposes traces of his artistic creation and operation, displaying meta-fictional intratextual relations either within a single work or among all his works as a whole. His meta-narrative not only creates the internal rhythm of his work and echoes its overall frame but also shows his concept of literary creation and let readers perceive his unique way of narration.Chapter Three,"Writing and Rewriting:DeLillo’s Inheritance and Subversion of Literary Tradition", mainly examines the intertextual relationship between DeLillo’s texts and other literary texts and traditional literary genres by analyzing his intertextual strategies such as quotation, allusion, pastiche, and parody. DeLillo’s extensive reading lays a solid foundation for his writing. He often mentions in interviews that authors such as Joyce, Faulkner, Nabokov, Hemingway, Beckett and Pynchon are all his literary influences. Through the practice of intertextuality, he skillfully employs a number of literary sources in constructing his own works. To begin with, he quotes phrases, sentences, paragraphs from, and alludes to, other works and writers. For instance, the title of his third play Love-Lies-Bleeding is a direct quotation from Wordsworth’s namesake poem "Love-lies-bleeding", the epigraph of his Cosmopolis is directly quoted from a poem called "Report from the Besieged City" by the Polish poet Herbert. In many of his works, he alludes to Joyce and his works. Those quotations and allusions play active roles in his characterization and theme presentation. Secondly, he imitates such literary elements as characterization, image, scene, plot, and narrative style from various writers. Pynchon’s way of characterization, Beckett’s language style, Nabokov’s literary scenes, and Joyce’s method of narration are all reflected in his works. DeLillo quotes, alludes and imitates to fit the narrative situation, which is always changing. By inscribing other works and literary traditions through such intertextual strategies as quotation, pastiche and allusion, he establishes a close connection with and pays homage to former texts and writers. However, DeLillo’s writing is not in the least a mere repetition of others. While inheriting literary tradition and imitating literary elements of others, he at the same time shows his own talents and imagination and reveals his meditation on and rebellion against the tradition. Parody is one of the commonly used techniques in his writing. He frequently relies on traditional literary forms for his fiction but usually rewrites and transforms and even makes fun of them, thus challenging established norms of storytelling and creating narrative styles of his own. DeLillo applies parody in order to criticize reality. In Running Dog, he shows characteristics of thriller but does not follow its procedures, displaying the dramatization of the socio-political and cultural problems. In White Noise, he imitates elements of detective fiction but subverts readers’expectations, ridiculing the limitation of detection. In The Body Artist, he creates the atmosphere of Gothic fiction, but while readers are expecting to see a struggle between the heroine and the monster figure, he changes his strategy and makes readers speculate on such subjects as time, grief, and death through his ironic narration. So, by the method of intertextuality, DeLillo not only establishes a close relationship with other writers and literary traditions, but also creates his unique way of storytelling, and at the same time shows his concern for the problems of contemporary society.Chapter Four,"Literature and Media:DeLillo’s Dialogue with Media Culture", turns to explore and analyze the dense dialogic relation between DeLillo’s writing and media culture. DeLillo was brought up and educated in New York. After his graduation in1958with a B.A. in Communication Arts, he worked in an advertisement company. Immersed in the media environment of contemporary America, he is heavily influenced by media culture. He mentions more than once that the paintings in the Museum of Modern Art, Jazz, European films and avant-garde art in Greenwich Village all enormously influence him. DeLillo has a strong affection for contemporary media culture and can always find inspiration from it. Firstly, his writing displays a dense interaction with the filmic world. In terms of content, he not only uses cinematic images, populates his works with a host of film stars and directors, but also often absorbs and adapts real filmic works, especially that of Godard; in terms of style, he imitates the language of movie script, employs the film technique of montage, utilizes "camera-eye" perspective and hand-held camera technique. Through hybridization with film, he broadens the form of the narrative of literature. Secondly, his writing often resorts to paintings and music. Paintings such as "The Triumph of Death" by the Flemish master Pieter Brueghel and still lifes by the Italian painter Giorgio Morandi are intricately interwoven into his writing, helping to create the theme and mood of his works. DeLillo also likes to make music stars as his characters and to incorporate song lyrics into his works. In Great Jones Street, his protagonist Wunderlick is modeled after Bob Dylan, an American pop music star. In the novel, he depicts the puzzlement and anxiety of musicians, demonstrating the drift of fragmentation and alienation caused by the media environment. In addition, DeLillo’s writing is a collage of media texts:television shows, radio programs, newspaper clippings, commercial advertisings, and other forms of contemporary mass media are all intercalated in his writing in one way or another. Through repeated quotation from and dense interaction with media, DeLillo successfully demonstrates a media-noise-saturated society, indicating that the world is threatened and under siege by the "waves and radiation" of media discourses. DeLillo is always experimenting with new techniques and different patterns of writing. As a participant in the media environment, he utilizes techniques from new media in order to expand the possibilities and boundaries of literary writing and concurrently incorporates media texts to show the inescapability of mass media in everyday experience and to produce probing critiques of the media-saturated society.Chapter Five,"Memory and History:’Histories’as Intertexts in DeLillo’s works", examines the conversational relationship between DeLillo’s writing and history. As a writer full of historical consciousness, DeLillo shows his concern for history from the beginning of his writing. In most of his novels, especially in his later ones, his tightly knit intertextual relationship with history is demonstrated. He not only likes to insert historical elements but also likes to review historical archives, absorb and transform historical texts. Emphasis in this chapter mainly falls on his three later novels--Libra, Underworld, and Falling Man. Libra is based on the event of the assassination of the American ex-president John F. Kennedy. The novel consists of two lines:one recounts the life of Lee Harvey Oswald before assassination and the other is about former CIA agents’conspiracy to assassinate. Sandwiched between these two lines is the account of a man named Branch who is hired to write the history of the assassination. Throughout the book, DeLillo both makes use of and questions the Warren Commission Report, offering new perspectives on the assassination of the president in a space based on reality and imagination. Underworld mainly deals with histories of the Cold War. In this827-page-long novel, using important events of America from the1950s to the1990s as background, DeLillo mainly focuses on histories which are not written by the dominant, thus questioning the American Cold War triumphalism. Falling Man is based on the catastrophic event of9/11. Focusing on the day-to-day lives of a39-year-old survivor Keith and his family, it precisely delineates the physical and psychological trauma of common people caused by terrorism. Most importantly, in the novel, DeLillo displays the other side of terrorists who are usually demonized and silenced by all kinds of narratives through his depiction of one of the hijackers Hammad, his life experience, his psychological development and how he is forced to participate in terrorist activities. Different from old standard historical narratives and the official narrative of the Bush administration, history in Falling Man is history which is unknown. Such kind of counter-narrative of DeLillo reflects the multiplicity and diversification of history. In a word, history provides DeLillo with inspiration and motivation and through his dense intertextual relationship with history he confuses the boundary between history and fiction, reevaluates and rethinks the past and memory, and offers new perspectives through which we can have a different perception of the past.The conclusion part first summarizes the feature of intertextuality in DeLillo’s writing, then reiterates the significance of intertextuality to DeLillo. Intertextuality runs through all DeLillo’s works and becomes one of the conspicuous characteristics of his writing. However, no matter what intertextual sources, DeLillo’s concern is always America, a country he both loves and hates. During his more than forty years of career as a writer, DeLillo continuously experiments with various ways of narration, expands his subjects of writing, explores the nature of America and thus provides a panorama of contemporary American life. All these, without his practice of intertextuality, would be difficult for him to achieve.

        

闡釋美國當(dāng)代社會:德里羅作品的互文性研究

Abstract4-10摘要11-20A Note on Abbreviations20-21Introduction21-32Chapter One Intertextuality and DeLillo's Intertextual Writing32-52    Ⅰ. Origin of Intertextuality32-36    Ⅱ. Production of Intertextuality36-39    Ⅲ. Development of Intertextuality39-49    Ⅳ. DeLillo's Intertextual Writing49-52Chapter Two Self-reference and Self-citation:Intratextuality in DeLillo's Works52-80    Ⅰ. Reference between Paratext and Text53-60    Ⅱ. Similar Scenes,Recurrent Characters and Motifs60-71    Ⅲ. Self-citation and Meta-fiction71-80Chapter Three Writing and Rewriting:DeLillo's Inheritance and Subversion of Literary Tradition80-106    Ⅰ. Quotation and Allusion81-88    Ⅱ. Pastiche88-93    Ⅲ. Parody93-106Chapter Four Literature and Media:DeLillo's Dialogue with Media Culture106-128    Ⅰ. Interaction with the Filmic World107-115    Ⅱ. The World of Painting and Music115-122    Ⅲ. Couage of Media Texts122-128Chapter Five History and Memory:"Histories" as Intertexts in DeLillo's Works128-154    Ⅰ. Deconstruction and Reconstruction of History: Dialogue with Warren Report129-137    Ⅱ. Histories Not Written:Questioning American Cold War Triumphalism137-145    Ⅲ. Multiplicity of History:Counter-narrative of Terrorism145-154Conclusion154-158Works Cited158-167Acknowledgements167-169在學(xué)期間的主要科研成果169



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