《金钱——绝命书》与《伦敦原野》中的情色叙事及其反讽张力

The Erotic Narrative and Its Ironic Contemplation in Martin Amis' s Money:A Suicide Note and London Fields

《金钱——绝命书》和《伦敦原野》是当代英国小说家马丁·艾米斯的两部代表作,其中的情色叙事经常引发争议。《金钱——绝命书》以"色男"塞尔夫的情色经历作为小说叙事进程的主要推力,因为对"支配性男性气质"的复现与彰显而饱受非议,但是以性色交易为核心的叙事深层也是对传统男性气质认知的质疑与消解。《伦敦原野》以"荡妇"妮科拉与几位男性的情色欢娱作为叙事动力,其迎合与屈从男权的性别文化姿态颇受女权主义者的诟病,但是以色诱为情节推手的叙事深层也解构了刻板的女性气质认知。艾米斯的情色叙事在表层与深层之间维持着很强的反讽张力,对性别意识形态主题的呈现起到了深化与升华的作用。具有反讽张力的叙事模式是对二元对立性别气质认知的解构与颠覆,批判了后现代消费社会中两性关系的情感异化与精神歧途,寄托着小说家建构新性别气质的艺术理念。

Martin Amis＇ s Money： A Suicide Note and London Fields have been controversial for the erotic depiction of sex and women. Money tells the story of the male protagonist＇s sex trade with quite a few women driven by lust, and has been criticized for manifesting and highlighting the old idea of masculinity. London Fields revolves around the heroine＇s seduction of the three male characters during the course of her seeking a male murderer, and has been sharply deprecated as submitting to the oppressive gender culture. However, the erotic narrative in both works is highly paradoxical and ironic. In their deep structures respectively, the former novel is subverting the dominant ideology of masculinity whereas the latter is deconstructing the stereotyped concept of femininity dictated by patriarchy. Its ironic contemplation is conducive to the critiques of gender ideology in a postmodern consumerist society.