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约瑟夫·海勒的黑色幽默小说《第22条军规》颠覆了传统美学对幽默的理论界定,它将正与反、悲与喜等因素完美地统一在一起,使两种含意在语义上造成强烈的碰撞效果,以形成荒诞性。小说人物形象的碎片化、去庄严化、去中心化等使其与西方传统小说拉开了距离;作品中没有了那种高大威猛、所向披靡的英雄形象,而是一群猥琐的、胆小的、变态的、荒诞的侏儒式人物。在叙事模式上它打破西方传统线性叙事模式和时空顺序来安排情节,以跳跃式的,非自然的方法来变幻时空。小说的叙事语言具有后现代主义小说的风格,句子之间缺少因果联系的基本要素,使得小说的句子和段落在意群上具有一种碎片性、散乱性的现象。
Joseph Hiller’s black humor no. 22 military regulations subverts the traditional definition of humor by traditional aesthetics. It perfectly integrates positive, negative, sad and happy factors and makes both meanings semantically Strong collision effect to form absurdity. Fragmentation of the character image of the novel, to be solemnized, decentralized and so away from the traditional Western novels; the absence of such a tall and mighty, invincible heroic image, but a group of wretched, timid , Metamorphosis, absurd dwarfism. In the narrative mode, it breaks the traditional western linear narrative mode and time-space order to arrange the plot, and changes the space-time by the leaping and unnatural methods. The narrative language of the novel possesses the style of postmodernist novels, and the lack of the basic elements of the causal connection between the sentences makes the novel’s sentences and paragraphs have a fragmented and scattered nature in the meaning group.