摘要
麦克尤恩的"后9·11"书写有着典型的欧洲风格,它既浸润着马修·阿诺德的文化批判精神,带有19世纪资本主义美学中"崇高"概念的印记,同时又深切地关注着全球"反恐战争"阴霾下的末日想象。《星期六》的奇特之处,在于它试图以一种寓言式写作,揭示科学和文学张力之下的"后9·11"式崇高。这种承接了"奥斯维辛"之后的后现代"崇高"不仅构成了对恐怖主义的一种话语批判,而且也试图对主流"反恐"叙事进行某种文学意义上的解构。
McEwan＇s post -9/11 novel Saturday features a typically European style that dates back to Mathew Arnold＇s cultural critique. Such a style is not only imprinted with the 19th -century bourgeois aes- thetics of the sublime, but concerned with the eschatological imagination in the shadow of the global ＂War on Terror＂. The extraordinariness of Saturday lies in its allegorical writing pointing to the post -9/11 sublimity behind the tension between science and literature. In contrast with the post - modem sublime as defined by Auschwitz, Saturday reveals a kind of sublimity that both critiques terrorism and in a literary way, decon- structs the mainstream discourse on the so- called ＂counter- terrorism＂.
出处
《湖南科技大学学报（社会科学版）》
CSSCI
北大核心
2017年第1期44-49,共6页
Journal of Hunan University of Science and Technology(Social Science Edition)
基金
国家社科基金项目(13CWW021)
关键词
恐怖
后9·11
崇高
terror
Post -9/11
the sublime
