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国内外学者对玛格丽特·阿特伍德长篇小说风格的界定常常以共时性为主,本文认为这种共时性风貌只有在历时视域的拘囿之下才能更为恰当地呈现。1969-1995年间,她的小说风格因为反映了加拿大国内“主义(criticism)先于现实”的谬境,呈现出现实主义的特色。1995-2003年间,她的小说符应了历史变化,完成了与国际后现代浪潮对接,从而展示出具有“加拿大特色”的后现代主义风格。2013年,阿特伍德的最新作品《风颠亚当》(Madd Addam)问世。这不仅标志着其“反乌托邦三部曲”的结束,亦喻示她近十年来的叙事风格转向了以揭示“全球化”与“末日”关系为主的启示叙事(Apocalyptic Narrative)。
Domestic and foreign scholars often define the style of Margaret Atwood as synchronic. In this paper, this synchronic appearance can be more appropriately presented only in the custody of diachronic sight. From 1969 to 1995, her novel style showed realism because it reflected the fallacy of Canadian domestic criticism before reality. From 1995 to 2003, her novels conform to the historical changes and completed the docking with the international tide of postmodernity, thus displaying the postmodernism style with “Canadian characteristics”. In 2013, Atwood’s latest work, Madd Addam, came out. This not only marks the end of his “dystopian trilogy,” but also shows that her style of narration in the past decade has shifted to enlightenment narration that reveals the relationship between “globalization” and “end of day” (" Apocalyptic Narrative).