美國(guó)后現(xiàn)代主義小說(shuō)詳解

前言

　　A StudyofAmerican Postmodernist Fiction by Professor Chen Shidanhas eventually met the readers. This is a monograph in English which canbe used as a textbook of American Postmodernist Fiction， a course ofundergraduates and postgraduates of English major in our colleges anduniversities. Because it is the first English textbook of this course， itspublication has an unusual meaning.　　Since the publication of Catch-22 by Joseph Heller in 1961， theAmerican postmodernist fiction has been continually developing for morethan 40 years up to the present. Many famous postmodernist works offiction have already entered the classrooms of American colleges anduniversities and have become the books that graduate students must read.Since 1996， the Translations Press in Nanjing has published "A Series ofAmerican Postmodernist Novels，" translated and introduced more than 10masterpieces. But the textbooks of intensive reading and extensive readingfor the college students of English major in our country have not yetincluded the original texts of American postmodemist fiction. Though afew English departments of colleges and universities have set up thecourse American Postmodernist Fiction， the teachers and students arepuzzled for having no appropriate textbooks. A Study of AmericanPostmodernist Fiction by Professor Chen Shidan has duly met the need ofteaching for English graduate students.

內(nèi)容概要

　　《美國(guó)后現(xiàn)代主義小說(shuō)詳解(英文版)》以一篇篇經(jīng)典的代表性作品為具體例證，系統(tǒng)闡述了后現(xiàn)代主義在小說(shuō)解構(gòu)、重構(gòu)、元小說(shuō)、反體栽、語(yǔ)言游戲、戲仿、拼貼、蒙太奇、迷宮、黑色幽默、零散敘事、滑動(dòng)能指、零度寫(xiě)作、通俗化傾向、后現(xiàn)代主義文學(xué)代碼的語(yǔ)義學(xué)和句法學(xué)特點(diǎn)等方面的藝術(shù)特征。它將后現(xiàn)代主義理論探討與小說(shuō)文本分析相結(jié)合，將小說(shuō)主題思想討論和藝術(shù)風(fēng)格分析相結(jié)合，全方位地把握其發(fā)展脈絡(luò)和社會(huì)影響，使讀者能對(duì)美國(guó)后現(xiàn)代主義小說(shuō)有一個(gè)深刻而全面的認(rèn)識(shí)?！　≡摃?shū)可用作我國(guó)高等院校英語(yǔ)語(yǔ)言文學(xué)專業(yè)本科生和研究生“美國(guó)后現(xiàn)代主義小說(shuō)研究”課程教材，同時(shí)亦面向高校文學(xué)院外國(guó)文學(xué)專業(yè)本科生和研究生、從事文學(xué)批評(píng)和文藝?yán)碚撗芯康膶W(xué)者，以及廣大外國(guó)文學(xué)愛(ài)好者等。

作者簡(jiǎn)介

　　陳世丹，文學(xué)博士，中國(guó)人民大學(xué)外國(guó)語(yǔ)學(xué)院和文學(xué)院教授，英美文學(xué)、西方文論和西方文化方向博士生和碩士生導(dǎo)師。全國(guó)英國(guó)文學(xué)學(xué)會(huì)常務(wù)理事。廈門(mén)大學(xué)博士研究生畢業(yè)，獲博士學(xué)位；美國(guó)哈佛大學(xué)訪問(wèn)學(xué)者；美國(guó)耶魯大學(xué)美國(guó)學(xué)方向東亞學(xué)者研究班畢業(yè)。1995年以來(lái)主持完成省、部級(jí)科研項(xiàng)目5項(xiàng)、國(guó)家社會(huì)科學(xué)基金項(xiàng)目1項(xiàng)“美國(guó)后現(xiàn)代主義小說(shuō)主題與藝術(shù)手法論”（97CWW004），目前正在主持進(jìn)行國(guó)家社會(huì)科學(xué)基金項(xiàng)目“美國(guó)作家?guī)鞝柼亍ゑT內(nèi)古特研究”（06BWW017）。已出版各類著作《馮內(nèi)古特的后現(xiàn)代主義小說(shuō)藝術(shù)》（英文版，2009）、《美國(guó)后現(xiàn)代主義小說(shuō)精讀》（英文版，2009）、《虛構(gòu)亦真實(shí)》（2005）、《美國(guó)后現(xiàn)代主義小說(shuō)藝術(shù)論》（2002）等15部；發(fā)表國(guó)家核心期刊學(xué)術(shù)論文《：一種詩(shī)性的語(yǔ)言結(jié)構(gòu)》、《論中熵、多義性和不確定性的迷宮》（2007）、《論后現(xiàn)代主義小說(shuō)之存在》（2005）等50多篇。

書(shū)籍目錄

Preface　　/ 1Directions for Teaching　　/ 1The Abbreviations of the Works Titles　　/ 1Chapter I　The Aesthetic Dimensions of Postmodernist Fiction　　/ 1A. The Core Concepts of Postmodernist Thought　　/ 1B. The Evolvement of Fiction： Realism-Modernism-Postmodernism　　/ 4C. The Aesthetic Dimensions of Postmodemist Fiction　　/ 81. Metafiction　　/ 82. Anti-genre　　/ 183. Language Games and the Readers Interpretation　　/ 214. Tendency towards Popularization　　/ 255. Parody， Collage， Montage， Black Humor， and Labyrinth　　/ 276. Language Subject， Fragmented Narrative， Shifting Signifiers， and Writing Zero　　/ 38Chapter 2　The Deconstructive and Reconstructive Tendencies ofPostmodernism in Snow White　　/ 53A. The Deconstructive Tendency of Postmodernism　　/ 551. Indeterminacy　　/ 552. Fragmentation　　/ 573. Decanonization　　/ 604. Selflessness and Depthlessness　　/ 645. The Unpresentable and the Unrepresentable　　/ 70B. The Reconstructive Tendency of Postmodernism　　/ 721. Irony　　/ 722. Hybridization　　/ 753. Carnivalization　　/ 774. Performance and Participation　　/ 795. Constructionism　　/ 816. Immanence　　/ 82Chapter 3　The Absurd Social Reality and the Grotesque Fictional World in Cateh-22 and Closing Time　　/ 90A. The Absurd Social Reality　　/ 901. The Catch-22 in the 1960s　　/ 902. The Catch-22 in the 1990s　　/ 95B. The Grotesque Fictional World　　/ 991. Black Humor　　/ 1002. Language Games　　/ 1063. The Tendency towards Popularization　　/ 112Chapter 4　The Nonlinear Narrative， the Death of the Author， and Black Humor in Slaughterhouse.Five　　/ 117A. The Combination of the Significant Theme and the Innovative Form　　/ 119B. The Nonlinear Narrative　　/ 1241. Combining History with Imagination　　/ 1242. Combining Reality with Fantasy　　/ 1293. Combining the Diachronic with the Simultaneous　　/ 133C. The Death of the Author　　/ 138D. Black Humor　　/ 146Chapter 5　The Labyrinth Composed of Entropy， Polysemy and Indeterminacy in The Crying of Lot 49　 / 152A. Entropy　　/ 1551. Demon and Oedipa　　/ 1562. Entropy and the Society　　/ 1603. Entropy and Information　　/ 164B. Polysemy　　/ 170C. Indeterminacy　　/ 174Chapter 6　The Comic Nightmare and the Dishevelled Structure in Second Skin　　/ 182A. The Comic Nightmare　　/ 1841. The Comic Elements　　/ 1852. The Nightmarish Elements　　/ 205B. The Dishevelled Structure　　/ 2111. The Unsymmetrical Space　　/ 2122. The Discontinuous Time　　/ 2143. The Blanks　　/ 218C. Metafiction　　/ 220Chapter 7　The Transcendental Realities and the Unusual Techniques in Pale Fire　　/ 227A. The Transcendental Realities　　/ 2291. The Subjective Reality　　/ 2302. The Imaginative Reality　　/ 2313. The Consciousness of Death　　/ 2324. Solitude　　/ 2345. Alienation　　/ 236B. The Unusual Techniques　　/ 2401. Intertextuality　　/ 2422. Parody　/ 2513. A Game of Worlds　　/ 254Chapter 8　The Parody of Philosophical Texts and Metafiction in The End of the Road　　/ 268A. The Parody of Philosophical Texts　　/ 2691. The Parody of Existentialism　　/ 2702. The Parody of Freudianism　　/ 281B. Metafiction　　/ 292Chapter 9　The Literary Code of Postmodernism in The Public Burning　　/ 301A. What Is a Literary Code?　　/ 302B. The Semantic Characteristics of the Literary Code of Postmodernism　　/ 3051. The Prominent and Very Frequently Used Lexemes　　/ 3052. The Prominent Semantic Fields　　/ 306C. The Syntactic Characteristics of the Literary Code of Postmodernism　　/ 3111. The Characteristics of the Sentence Structures　　/ 3122. The Characteristics of the Text Structures　　/ 317Glossary　　/ 336Bibliography　　/ 342The Readings for the Study of American Poslanodernist Fiction　　/ 357Postscript　 / 361

章節(jié)摘錄

　　"The Absurd Social Reality," the first part of this chapter, discussesthe theme of Hellers novels: the absurdity and corruption of Americanruling bloc, the confusion and madness in American society. Through thedescription of the war, Catch-22 as the epic of the 1960s indirectlyrepresents a mad world and exposes the corrupt nature of the collusion ofbureaucrats with capitalists and their crimes of bringing endless sufferingand death to ordinary people in American society while Closing Time asthe sequel of Catch-22 directly represents the indulgence of Catch-22 inwanton massacre or persecution in the 1990s, in which it has causedhuman beings and itself to go towards the closing time——-death.　　"The Grotesque Fictional World," the second part, dissertates on theimportant role played by postmodernist techniques such as black humor,language games （including the ambiguity of words, the contradiction ofthe paradox type, and discontinuity）, and the tendency of popularization indeepening the themes of novels. Black humor prominently represents theabsurdity of the world around the characters and the social oppressionupon individuals, manifests　the mutual inconsistcntness　betweenenvironment and individual （namely, the self） with a sneering attitude,magnifies,　distorts　and deforms　the phenomena of the mutualinconsistentness so as to make them absurd and ridiculous, and therebyhelps man acquire a kind of spiritual extrication. Postmodemism considersthat everything is uncertain and that there is not any transcendental orobjective meaning in the world. Writing is only the writers introspectiveprocess of symbolization, that is, a kind of information that indicates itself,expecting to gradually establish its own meaning in the process ofexploring the writing itself. Value roots in invention and meaning isproduced in the differences of the language signs, that is, it is the effect ofthe permutation and combination of language signs.

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