《被掩埋的巨人》与电影《潜行者》联动的双重叙事进程

The Buried Giant's Parallel Trajectories of Narration in Relation to the Film Stalker

石黑一雄的《被掩埋的巨人》与塔可夫斯基的电影《潜行者》在运用神话方法以及在建构双重叙事上有互文性关联。将小说与电影进行联动叙事解读,能揭露出石黑一雄小说中隐藏的、与表面情节发展轨道所奠定的基本叙事基调相悖的另一层隐性表意轨道及主旨。在小说的表面情节发展轨道上,叙述者以一种宏大叙事式的、对聚焦人物不施评判的客观立场和叙述目光进行叙事;而在小说的隐性表意轨道上,叙述目光又在跟文本外部的电影的互文及共鸣中,透露出一种与读者所认识的故事表面意义相对立的深层反讽意义。

In The Buried Giant,Kazuo Ishiguro's particular way of using the Greek ferryman myth to build the covert narrative progression is similar to Andrei Tarkovsky's use of the myth in Stalker.Reading the novel in relation to the film can help the reader uncover a covert narrative progression in Ishiguro's novel that simultaneously parallels and disestablishes the authority of the omnipresent third-person narrative in its surface progression.On the surface level,the narrative eye takes on a godly overview to record things objectively as a traditional grand narrative does.On the covert level,the narrative eye reveals a sinister stalking point of view that undermines the overt grand narrative tone and its meaning.