本文選題：伊恩·麥克尤恩 + 《贖罪》　； 參考：《四川外國語大學(xué)》2014年碩士論文

【摘要】：伊恩·麥克尤恩（1948-）是當(dāng)代英國文壇中最杰出的作家之一。自初登文壇以來，就一直以精湛的技巧和大膽的寫作風(fēng)格而聞名于世。《贖罪》作為他迄今為止最具影響的作品，完美的體現(xiàn)了他的寫作技巧和對人性的洞見。 在《贖罪》中，作者在書寫歷史的同時，運(yùn)用了多角度，“中國式套盒”以及自省等寫作方法，因此小說被貼上“歷史編纂元小說的”標(biāo)簽。 本文以琳達(dá)·哈琴的“歷史編纂元小說”為理論依據(jù)，分析了麥克尤恩在《贖罪》中所運(yùn)用的后現(xiàn)代歷史編寫和元小說敘事策略，指出作者在建構(gòu)歷史的同時，也對歷史書寫提出質(zhì)疑。因此，作者對歷史的回訪并非是對其情有獨(dú)鐘，而是以評判的態(tài)度在重返過程中對人性的洞察和反思。 論文主要分為三個部分。引言部分介紹了作者的文學(xué)成就和《贖罪》的國內(nèi)外研究現(xiàn)狀，同時也對論文的理論依據(jù)做出了闡釋。主體部分分為三章。第一章論述了《贖罪》挑戰(zhàn)官方歷史的權(quán)威。在談及有關(guān)第二次世界大戰(zhàn)以及當(dāng)代英國等歷史階段時，作者分別采用了不同的歷史版本，，將這宏觀歷史改寫為個人的“小寫歷史”版本，揭露了傳統(tǒng)歷史編寫中所隱含的意識形態(tài)問題。第二章論述《贖罪》質(zhì)疑了歷史編寫的可靠性。分析了多角度和不可靠的敘述者這兩種敘事方式，結(jié)合文章凸顯的“中國式套盒“結(jié)構(gòu)，否定了完全再現(xiàn)客觀歷史的可能性。第三章論述了《贖罪》顛覆傳統(tǒng)人文主義概念的嘗試。一統(tǒng)化和絕對性的概念開始讓位于多元化，小說中絕對的二元對立開始瓦解，留下的只是懸而未決的矛盾。最后，結(jié)論部分指出：歷史和小說都是人類建構(gòu)之物，在奮力嘗試建構(gòu)之時，人們需要對此進(jìn)行反思。
[Abstract]:Ian McEwan is one of the most outstanding writers in contemporary English literature. Since he first appeared in the literary world, he has been famous for his exquisite skill and bold writing style. As his most influential work so far, Atonement perfectly embodies his writing skills and insight into human nature. In "Atonement", the author uses various writing methods, such as "Chinese box" and "introspection", while writing history, so the novel is labeled as "historical compilation of meta-fiction". Based on Linda Harqin's Historical Codification of Metafiction, this paper analyzes the post-modern historical writing and the narrative strategies of meta-fiction used by McEwan in Atonement, and points out that the author is constructing history at the same time. It also questioned the writing of history. Therefore, the author's return visit to history is not a special love for him, but an insight and reflection on human nature in the process of returning with an attitude of judgment. The paper is divided into three parts. The introduction introduces the author's literary achievements and the present research situation of Atonement at home and abroad, and explains the theoretical basis of the thesis. The main part is divided into three chapters. Chapter one deals with the challenge to the authority of official history. When talking about the historical stages of World War II and contemporary Britain, the author has adopted different historical versions, rewriting this macroscopic history into a personal version of "lowercase history". It exposes the ideological problems implied in the traditional history writing. Chapter two states that Atonement questions the reliability of historical writing. This paper analyzes the two narrative methods of multi-angle and unreliable narrator, and denies the possibility of completely reproducing the objective history by combining the "Chinese style box" structure highlighted in the article. Chapter three discusses the attempt to subvert the concept of traditional humanism in Atonement. The concepts of unification and absoluteness began to give way to pluralism, and the absolute duality in the novel began to disintegrate, leaving only unresolved contradictions. Finally, the conclusion points out that both history and novel are human beings' construction, and people should reflect on them when trying hard to construct them.
【學(xué)位授予單位】：四川外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I561.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 陳榕;;歷史小說的原罪和救贖——解析麥克尤恩《贖罪》的元小說結(jié)尾[J];外國文學(xué);2008年01期

2 張和龍;;宏大而優(yōu)美的心靈史詩——評伊恩·麥克尤恩的《贖罪》[J];外國文學(xué)動態(tài);2008年02期

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