伊恩·麦克尤恩在《赎罪》中对戏仿的妙用具有反思性和对话性双重特征。一方面作家将戏仿作为贯穿全文的文学手法指涉先辈文学文本和历史事件,展现了他对戏仿对象既参与其中又保持批判距离的模仿行为;其次作家又将戏仿作为一种行之有效的对话策略,形成了文学的传统与革新、历史与当下、历史与文学、作家与自身等多维度的对话模式。与此同时,作家的自我戏仿又给小说文本提供了反观自身的模式,可见作家谋求的并非是将其戏仿对象加以嘲弄或取而代之,而是以干预性评判的方式对一切所谓一统化力量进行反思和拷问。 Ian McEwan has the dual characteristics of reflexivity and dialogue in the use of parody in Atonement. On the one hand, the writer imitates imitation as the literary technique that runs through the whole text referring to the literary texts and historical events of the ancestors, showing his mimicry that the parody object participates in and maintains the critical distance; secondly, Effective dialogue strategy has formed a multi-dimensional dialogue mode between the tradition and innovation of literature, history and present, history and literature, writer and self. At the same time, the writer’s self-imitation also provides a novel model of the novel, which shows that the author seeks not to mock or replace his parody object, but to intervene in all the so-called unified forces Reflect and torture.