摘要
库切2007年小说《凶年纪事》以每页两至三栏并置的空间叙事形式构成了以"塔楼"叙事时空体为中心的"立体共时性",与陀思妥耶夫斯基的"平面共时性"时空体模式形成鲜明对比。这种叠加、并置的叙事形式,意味着以时间为主导的单一叙事模式的结束。同时,小说中主人公与库切本人的亦真亦幻的对应关系,"既暗示又抗拒了小说主人公与真实作者之间的关联,从而有意模糊了他作为文本作者的DNA踪迹。"如果说陀思妥耶夫斯基小说中的复调是作者与作品人物从"我—他"关系向"我—你"关系的转变,那么库切近期的几部作品中则使这种关系变成了"我中有你,你中有我"的关系。在一个特殊的"作者时空体"中,库切先是虚构了他作品里的人物,使他们通过小说叙事文本语言进入活生生的现实世界;与此同时,原来只是作为虚构世界缔造者的库切越来越深地走入小说世界里,再也无法离开这些原本虚构的人物。库切也提醒我们应回归到对小说最本质规定性的关注:即对现代性危机的深刻关切和对人类自身处境的持续反思。
The spatial form in Diary of a Bad Year is characterized by the column juxtapositions on each page, which creates a multi-dimensional narrative in contrast to Dostoevsky’s ＂flat chronotope＂. The juxtaposition/superposition of narrative texts is evidence of the end of a single chronic-based narrative mode. The implicit correspondence between Senor C and Coetzee himself indicates his attempt to smudge ＂the traces of his authorial DNA by using a framing device that both hints at and disavows connections between the novelist protagonist and the actual writer＂. If Dostoevsky’s polyphonic novels mark the change of ＂I-He＂ to ＂I-You＂ relationship, Coetzee, with the unique ＂authorial chronotope＂, enters the fictional world he himself creates. ＂Authorial chronotope＂ also reminds us of the ontological concern of the novel, that is, the persistent reflections on modern man’s predicament.
出处
《当代外国文学》
CSSCI
北大核心
2011年第1期27-35,共9页
Contemporary Foreign Literature
