本文關(guān)鍵詞：底層空間、自我和語言——解讀《末世之城》的絕地生存　出處：《國(guó)外文學(xué)》2016年01期 　論文類型：期刊論文

  更多相關(guān)文章： 底層群體 空間 自我 語言

【摘要】：《末世之城》常被劃入敵托邦科幻小說的范疇,但實(shí)際上,它的目的不在于描畫人類未來的陰郁前景,而是透過歷史苦難的碎片聚焦底層群體的生存困境。它揭示底層空間具有隔離性、暴力性、易變性和貧困化等異質(zhì)特征。這些特征不僅影響了人們的生存經(jīng)驗(yàn)、主體構(gòu)建和語言再現(xiàn),也在群體和空間之間建立起符號(hào)化的互為表征關(guān)系,為權(quán)力放逐、壓迫他們提供合理的借口。不過,底層空間也蘊(yùn)含著隱蔽的革命性維度。小說里,女主人公的書信和敘事策略構(gòu)成空間政治的反撥之道,它們?cè)谶�原底層生活、修復(fù)集體性被迫失語的同時(shí),也彰顯了藝術(shù)和人性的救贖力量。
[Abstract]:"Doomsday" is often included in the city of dystopia in the realm of science fiction, but in fact, it is not the purpose of the gloomy prospect painted the future of humanity, but through the plight of the history of suffering fragments of the underlying groups of focus. It reveals that the underlying space has the heterogeneity of isolation, violence, variability and impoverishment. These characteristics not only affect people's survival experience, subject construction and language reproduction, but also establish symbolic mutual representations between groups and spaces, providing reasonable excuse for power exile and oppression. However, the underlying space also contains a hidden revolutionary dimension. In the novel, the heroines' letters and narrative strategies constitute the backwash way of space politics. They also restore the redemption force of art and humanity, while restoring the bottom life and restoring collective forced aphasia.
【作者單位】： 廈門大學(xué)外文學(xué)院英語語言文學(xué)系;
【分類號(hào)】：I712.074
【正文快照】： 美國(guó)當(dāng)代作家保羅·奧斯特(Paul Auster)在1987年出版了小說《末世之城》(In theCountry of Last Things)。此后,有不少評(píng)論者稱贊它是“描寫地獄的當(dāng)代杰作”。1相關(guān)評(píng)論大致分成兩類:一類以馬克·布朗(MarkBrown)為代表,認(rèn)為它屬于末世啟示性質(zhì)的敵托邦科幻文學(xué),“其中騷亂，

本文編號(hào)：1338578