《豪猪》的视觉叙事及其表征的资本主义进步神话

Visual Narrative and the Capitalist Myth of Progress in The Porcupine

继《福楼拜的鹦鹉》之后,朱利安·巴恩斯在《豪猪》中再次关注国际题材,将视野转向东欧的一个共和国国家,讲述冷战之后该国从社会主义向资本主义社会政体更替以及前国家领导人遭遇政治审判的故事。尽管巴恩斯采用传统第三人称全知叙述,但他仍在叙事形式上进行了新的突破:借鉴古老艺术手法艺格敷词,作者将非文字媒介视觉叙事和文字叙事相融合。本文聚焦视觉叙述机制的人格化和视觉画面的自我呈现,指出巴恩斯在揭示资本主义审判的虚假性及其强权政治意识形态的同时,嘲讽了资本主义取代社会主义所象征的进步神话。

After Flaubert’s Parrot,Julian Barnes once again pays attention to international subjects in The Porcupine,turning to a republic in Eastern Europe,this time relating a country’s regime change after the Cold War from socialism to capitalism and how its former president suffers from a political trial.While Barnes utilizes traditional third-person omniscient narrative,he makes a new breakthrough in narrative form.Via the ancient artistic technique of ekphrasis,the novel combines non-verbal visual narrative with verbal narrative.This article focuses on its visual narrative and use of image.While depicting the falsity of capitalist ideology,Barnes,this article argues,satirizes the myth of progress symbolized by the substitution of capitalism for socialism.