传承与超越:试论阿特伍德对经典的戏仿和解构

Tradition and Transcendence:An Exploration on Atwood’s Parody and Deconstruction of Classics

受大量经典阅读和20世纪文学理论语境的影响,加拿大女作家玛格丽特·阿特伍德的作品在传承经典文本和文学体裁的同时,又进行着对文本和文学体裁的戏仿和解构。选取玛格丽特·阿特伍德的三部代表作《珀涅罗珀记》、《强盗新娘》和《神谕女士》为研究对象,分析阿特伍德在传承经典文学文本和体裁基础的同时又实现了超越的原因:对经典进行颠覆和解构。通过主角人物的重新安排、叙述视角的改变以及小说结尾等的重新改写,阿特伍德赋予经典文本以新的活力。阿特伍德对经典的解构体现出她的女性意识以及对女性和边缘人物的伦理道德关怀。同时,她对传统二元对立的经典童话模式的消解以及对复杂多元的模式的运用,也反映出阿特伍德的后现代思想意识。

Influenced by a large number of classical works and the literary theory context of the 20th century,Canadian female writer Margaret Atwood has adopted a lot of parody and deconstruction of classical texts and literary genres such as Gothic novel in her works.Taking Penelope,Robber Bride and Lady Oracle as samples,this paper tries to analyze how Atwood subverts and deconstructs classic on the basis of inheriting classical literary texts and genres.Through rearranging the main characters,changing the narrative perspective and rewriting the ending of the novel,it can be seen how Atwood enlivens the classical texts with new vitality and the profound intentions behind her deconstruction of the classics.Analysis reveals that Atwood’s deconstruction of classic reflects her female consciousness and her ethical and moral concern for women and marginal figures.It also reflects Atwood’s postmodern ideology,such as her dissolution of the classic fairy tale mode of traditional binary opposition and her application of complex and multiple modes simultaneously.