论麦克尤恩小说《赎罪》的陌生化技巧

发布时间：2018-03-04 07:10

本文选题：《赎罪》　切入点：陌生化　出处：《四川外国语大学》2013年硕士论文　论文类型：学位论文

【摘要】：伊恩·麦克尤恩是后现代伟大作家中的佼佼者，其作品总能给读者带来震惊之感。他的早期著作致力于对各种暴力行为事件的探讨，例如性施虐和受虐狂、乱伦、对黑暗和病态的痴迷、犯罪手法等等。他也由此被世人称为作家“恐怖伊恩”。《赎罪》作为麦克尤恩的第九部小说，延续了他一贯的“惊世骇俗”风格。然而，读者对该部小说感到震惊的不仅仅是其关于犯罪和赎罪的题材，更是由于麦克尤恩采用的各种卓越的陌生化技巧，从而让读者对犯罪和赎罪感到耳目一新。《赎罪》为麦克尤恩赢得了无数的口碑与殊荣，更有许多国内外文学评论家从多个角度对其进行讨论。无论是对《赎罪》的主题研究还是风格研究，这些文学评论的探讨都深刻体现了其作为文学作品深刻的艺术性和丰富的研究价值。然而，对于麦克尤恩如何采用多种陌生化手法为小说带来文学性这个方面，却缺乏系统的研究。俄国形式主义者及其代表人物维克多·什克洛夫斯基认为，区别文学文本与非文学文本的根本区别就在于通过“陌生化”手法获得的文学性。针对日常生活和写作中遭遇的“自动化”现象，什克洛夫斯基提出使用“陌生化”手法来将人们已熟知的事物变得陌生，由此可以使人们恢复对生活的体验，感觉到事物的存在。在《赎罪》这部作品中，麦克尤恩采用了多种陌生化技巧来恢复读者对简单故事的体验，为读者提供新的审美感受，从而使小说获得了极高的文学性。他通过使用“并置”这一技巧实现了读者对文本结构的陌生化体验；通过使用“讽刺”这一技巧实现了读者对挖掘文本故事内在真实性的陌生化体验；通过使用“时间错位性”这一技巧实现了读者对文本时序倒错的陌生化体验。这些陌生化技巧将读者了解故事的形式进行变形，延长读者的感知过程，使其对司空见惯的赎罪故事获得新的感受，从而区别于其它关于赎罪题材的非文学性文本。本文认为，为了使读者不再受“自动化”感知的束缚并恢复其对小说的体验，，麦克尤恩在其作品《赎罪》中运用了多种陌生化技巧：并置、讽刺、时序倒错。这些陌生化技巧从文本的结构、故事原本真实性和叙事时间手法方面为文本的文学性和审美价值做出了巨大贡献。
[Abstract]:Ian McEwan is one of the greatest postmodern writers, and his work can always shock readers. His early books are devoted to exploring all kinds of violent events, such as sexual abuse and masochism, incest. His obsession with darkness and sickness, his modus operandi, and so on. He is also known as the writer "Terror Ian." "Atonement" as McEwan's 9th novels, continues his usual "shocking" style. However, The readers were shocked not only by the themes of crime and atonement, but also by the remarkable strangeness of McEwan, So that the reader feels refreshed with crime and atonement. "Atonement" has won McEwan countless word of mouth and honor, Many literary critics at home and abroad have discussed it from various angles, whether it is the thematic study of Atonement or the study of style. The discussion of these literary reviews deeply reflects their profound artistic quality and rich research value as a literary work. However, as to how McEwan used a variety of defamiliarization techniques to bring literariness to the novel, But lack of systematic research. Russian formalists and their representatives, Victor Shklovsky, think, The fundamental difference between literary text and non-literary text lies in the literariness acquired by "strangeness". In view of the "automation" phenomenon encountered in daily life and writing, Shklovsky proposes to use "defamiliarization" to make familiar things strange, so that people can recover their experience of life and feel the existence of things. In Atonement, McEwan uses a variety of defamiliarization techniques to restore the reader's experience of simple stories and provide readers with new aesthetic feelings. Thus, the novel is highly literariness. He realized the reader's strangeness to the text structure by using the technique of "juxtaposition". By using the technique of "satire", the reader realizes the unfamiliarity experience of digging up the truth of the text story. By using the technique of "time dislocation", the reader can realize the unfamiliarity experience of the text chronological error. These defamiliarization techniques transform the reader's understanding of the form of the story and prolong the reader's perception process. It gives it a new feeling about the usual atonement story and distinguishes it from other non-literary texts about atonement. This paper argues that in order to free the reader from the shackles of "automation" perception and to restore his experience of the novel, McEwan uses a variety of defamiliarization techniques in his work Atonement: juxtaposition, satire, These defamiliarization techniques make great contributions to the literariness and aesthetic value of the text from the aspects of the structure of the text, the authenticity of the story and the narrative time technique.
【学位授予单位】：四川外国语大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I561.074

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