本论文研究玛格丽特.阿特伍德的《别名格雷斯》的互文性方式、用意与效果。本文指出,小说拼贴了大量历史文本,融合了多种文类,设置了多重对话的动态开放结构,批评单一视角的历史叙事方法,解构了那些被认为权威的历史文本;小说通过与精神分析理论的对话,重新确立了格雷斯作为事件主体的位置,并以重新追寻她的真实身份为主线,挑战了知识话语对女性的误解和偏见;小说又通过格雷斯不断自我解构的叙事来凸显叙事的主观性,营造了变化、跌宕的文风;这部小说也具有理论性小说的特征,它反思了写作与历史真实的关系,展现了后现代的历史真实观。 This thesis studies the intertextuality, intention and effect of Margaret Atwood’s Alias ​​Grace. This article points out that the novel collages a large number of historical texts, integrates a variety of genres, sets up a dynamic and open structure of multiple dialogues, criticizes historical narrative methods from a single perspective, and deconstructs those historical texts that are considered to be authoritative. The novel’s passage and psychoanalysis The dialogue of the theory re-established Grace’s position as the main body of the event and challenged the misunderstanding and prejudice of women to the discourse of knowledge by re-tracing her true identity. The novel also highlighted Grace’s narrative through Grace’s self-deconstruction narrative The subjectivity of this novel has created a style of change and ups and downs. This novel also has the characteristics of a theoretical novel. It reflects on the relationship between writing and historical truth and shows the postmodern historical truth.