【作者】 陈博；

【导师】 王守仁；

【作者基本信息】 南京大学 ， 英语语言文学， 2017， 博士

【副题名】朱利安·巴恩斯作品的碎片化书写研究

【摘要】 朱利安·巴恩斯(Julian Patrick Barnes 1946—)是当今英国文坛的一位重要作家。他2011年以小说《终结的感觉》(The Sense of an Ending)荣获英国小说曼布克奖,迄今为止已出版作品30余部。纵观巴恩斯三十余年来的创作生涯,大致可以依据创作间隔及主题变化划分三个阶段:他的早期作品集中表达了对历史的思考;中期作品基本以英国本土为空间背景,大量呈现了对英国性主题的探讨;他的近期作品聚焦记忆现象,反映了对个体心理空间的探询。就时间而言,巴恩斯创作三个阶段的主题均关乎过去;就空间而言,他作品的空间背景从世界各地回归英国本土,再收缩至个体的心理空间,由此也就形成了历史、英国性与记忆这三个不同阶段各自的侧重主题。随着巴恩斯小说创作主题侧重点的变化,国内外巴恩斯研究的视角与内容不断丰富:早期的巴恩斯研究多集中于论述巴恩斯带有后结构主义色彩的新历史主义历史观;中期的巴恩斯研究中出现了大量有关英国性议题的探讨;近期的巴恩斯研究中更是加入记忆、身份与伦理等议题,呈现多元化态势。尽管巴恩斯作品的创作主题在不同阶段各有侧重,但无论主题如何变化,碎片化书写却是其中贯穿始终的不变特征。本论文选择巴恩斯的《福楼拜的鹦鹉》(Flaubert’s Parrot 1 984)、《101/2章世界史》(A History of the World in 101/2 Chapters 1989)、《英格兰,英格兰》(England,England 1998)、《亚瑟与乔治》(Arthur&George 2005)、《终结的感觉》与《无所畏惧》(Nothingto Be Frightened of2008)六部代表作品为研究对象,集中探讨巴恩斯小说中的碎片化书写,具体分析其中体现出的解构与伦理双重趋向。本论文的研究思路是以碎片化必然产生的解构特征为论证之经,挖掘作者如何通过拼贴、清单与片段书写这些形式上的碎片化手段表现出历史、民族性与记忆等主题叙事内容的碎片化特征。然而,在致力将总体解构为碎片的同时,巴恩斯的碎片化书写尚有不可忽视的伦理意蕴。本论文的论证之纬为巴恩斯作品的伦理性,借助列维纳斯他者伦理思想中他者之脸、欲望与言说等核心概念进行文本细读,解读其中个体朝向具有超越性特征他者的履责行为。解构与伦理这对巴恩斯碎片化书写的双重特征是本论文研究重点。作为后现代时期作家,巴恩斯难以避免地面临西方传统思想遭到解构冲击之后的碎片化境地。他也不遗余力地在作品中通过种种碎片化写作手段表现后现代情境中历史、英国性及个体记忆的碎片化状态。然而,巴恩斯作品中不仅反映了后现代解构思潮的冲击与影响。在巴恩斯的作品中,个体在不同程度上做出趋近超越性他者的行为,这就契合了列维纳斯倡导的伦理姿态。而正是此类尝试践行构成了巴恩斯作品解构之后的积极底蕴。在巴恩斯创作的三个阶段中,解构与伦理并存的结构具体体现在他对历史主题、英国性主题以及记忆主题的碎片化书写中。巴恩斯对历史主题的碎片化书写以拼贴为主要形式,在打破历史总体性宏大叙事的同时使个体生命中的“他者之脸”得以浮现。在《福楼拜的鹦鹉》与《101/2章世界史》中,他对视角、文体以及故事展开拼贴实验。他极力挖掘传统二元对立中处于弱势地位的叙事视角:以福楼拜情人科莱的女性视角叙述两人的爱情;以诺亚方舟上寄生木蠹的视角讲述洪灾事件;也以疯人视角讲述想象的“飞越疯人院”之旅。这两部作品的实验性还体现在对文体的拼贴中,巴恩斯将包括书信集、动物寓言集与编年史在内的不同文类融入同一部小说中。既打破小说文类自身的界限,亦消弭虚构性文类与非虚构性文类的简单分隔。对弱势视角的呈现,以及对历史书写主观虚构特性的挖掘,使得这两部作品集中表现了新历史主义倡导的对“历史的文本性”的挖掘,将具有总体性特征的大写历史化为若干小写历史。然而,在《福楼拜的鹦鹉》与《101/2章世界史》还出现了所叙故事的拼贴。故事的拼贴在前者中体现为纵向拼贴,在后者中则为横向拼贴。在两种形式的故事拼贴中,他者之脸得以显现,以绝对他异性引领主人公进入朝向他者的超越性伦理关系中。在对英国性主题的碎片化书写中,巴恩斯提出两份与英国性概念建构休戚相关的清单,并借其以戏仿的方式在建构英国性的同时亦对它做出解构,继而呈现出列维纳斯式个体朝向他者的超越性欲望。在《英格兰,英格兰》与《亚瑟与乔治》中,巴恩斯罗列了两份对小说情节发展与主题阐释至关重要的清单,分别为“英国性的50个特征”清单及侦探小说家的线索清单。清单本为将碎片加以整合形成总体的形式。在这两部小说中,上述两份清单均看似完成了整合碎片形成总体的任务,在前者中帮助跨国商业集团建构了一个以英国性为卖点的主题公园,在后者中帮助主人公亚瑟成功破案。尽管如此,两部小说中的清单执行者均只是看似凭借清单按图索骥达到目的,其行为的结果实际构成对原先清单罗列目的的戏仿。《英格兰,英格兰》通过将主题公园仿真拟像化,颠覆了英国性概念本身;而《亚瑟与乔治》中亚瑟得出的结论与真相相去甚远,表明了实用理性主义这一英国性核心精神的崩塌。藉由戏仿,巴恩斯实现了对英国性概念的解构,折射出世纪之交的“英国性危机”。然而除了对英国性的解构之外,两部小说仍通过主人公玛莎与亚瑟的个人渴求表达了对无限欲望伦理性追求。玛莎对演员所扮琼斯博士的崇拜以及亚瑟对通灵术的痴迷,均属于朝向他者的超越性欲望,是他者的存在为自我带来了难以把控、不可满足的无限欲望。在对个体记忆主题的碎片化书写中,巴恩斯通过记忆的片段书写表现了记忆的破碎特征,同时亦履行了个体朝向他者的伦理履责言说。在《终结的感觉》与《无所畏惧》中,巴恩斯均以片段记忆书写为个体生命史回顾的基本单位。在借鉴认知心理学记忆研究成果的基础上,可以看出巴恩斯的记忆书写勾勒出了片段记忆的复杂结构。他并不满足于对记忆静态内容的描绘,而是通过重复叙事手法将包括原初事件与认知环境在内的片段记忆动态环节逐一呈现,表现出片段记忆各个必要因子复杂的动态互动过程。记忆的动态呈现使得如源记忆失忆这样的认知谬误得到充分体现,也使得记忆者叙事沦为受到质疑的不可靠叙事。认知谬误与不可靠叙事打破了片段记忆之间的有机链接,颠覆个体回忆的总体性叙事。然而记忆的动态呈现同时也构成了主人公不断言说的过程。言说是列维纳斯意义上与所说相对的言说。它是一种义务,要求自我打破所说的唯我主义霸权。在不断言说与他者相关片段记忆的同时,巴恩斯笔下的记忆言说者也不断打破自身对他者的牢固成见承认他者的他异性并履行朝向他者的伦理义务。巴恩斯作品的碎片化书写体现了他应对后现代情境秉承的解构与伦理的双重坚持。他一方面在作品中执意于解构,将历史、民族性以及记忆等对个体身份确立至关重要的主题元素一一瓦解,着力于描绘宏大叙事与个体叙事中总体崩塌、碎片横生的景象;另一方面却又借笔下人物的不懈探索,努力超越解构可能导致的相对与虚无,表现出列维纳斯倡导的朝向他者履行责任的积极伦理姿态。其作品充分表现出了解构中的伦理意蕴与伦理中的解构前提。本论文的研究意义与创新之处主要体现在以下几个方面。首先,碎片化书写作为巴恩斯作品形式与内容的显著特征在现有研究中并未受到关注,更未得到系统研究。以其为研究对象,可以对巴恩斯的整个创作形成给整体性把握。其次,以往的巴恩斯研究往往对他的解构倾向多有论述,却鲜有涉及巴恩斯作品的积极意义。对巴恩斯的作品展开伦理分析,可以多层面地呈现出这位当代作家在面对后现代情境种种消极因素时的积极探索。最后,以跨学科方式将列维纳斯他者伦理哲学思想与后现代解构理论加以结合,并将之用于文本的阐释,是对丰富文学作品阐释视角做出了探索。更多还原

【Abstract】 As one of the most important contemporary British novelists,Julian Banes has published more than a dozen books up to the moment,of which The Sense of Ending is the winner of 2011 Man Booker Prize.In Bames’s writing career of more than three decades,it is possible to draw a three-phase distinction based on two brief interruptions and changes of topicality.His works of early phase present a thorough concern about history and historiography.In his middle phase of writing,his novels are primarily set in the geographical space of Britain,hence giving rise to great amount of refiections on issues related to Englishness.His recent writings concentrate extensively on the influence of memory on individual psychological space.The three phases of Barnes’s writing have been marked by a shift in spatial backgrounds,and a corresponding non-shift in his overall concern over topics related to the past,which combine to form the themes of history,Englishness and memory for each phase respectively.As a result,research on Barnes has grown to be increasingly versatile.To be more specific,earlier research has focused on his new historicist approach to history while English,English brings forth the issue of Englishness as a widely-explored topic.Despite continuing with previous research perspectives,with issues related to memory,identity and ethics emerging,recent research also witnesses an increase in diversity of topics including memory,identity and ethics.Taking works including Flaubert’s Parrot(1984),A History of the World in 101/2 Chapters(1989),England,England(1998),Arthur&George(2005),the memoir Nothing to Be Afraid of(2008)and The Sense of an Ending(2011)as major texts for detailed analysis,this study conducts an in-depth reading of the coexistence of deconstruction and ethics in Bames’s writing of fragmentation.As to the research approach,the study explores on the one hand how Bames adopts techniques of fragmentation such as collage,list and episodic writing to achieve the deconstruction of totalized narratives in history,Englishness and personal memory;on the other hand,with the help of French philosopher Emmanuel Levinas’s concepts including face of the Other,desire,and saying,the manner of individual’s fulfillment in their ethical obligations towards the Other is examined in detail.The focus of this study lies in the inherent paradox of deconstruction and ethics in Bames 5s writing of fragmentation.As a writer in the postmodern context,Barnes inevitably encounters a situation in which almost all ideas of traditional Western thought have been shattered to pieces,as has already been evidently displayed by his writing of fragmentation in themes including history,Englishness and memory.However,Bames is never to be understood as a writer writing merely about the fragmented state of being,as for him the means of coping with such a state consists in the ethical actions of his characters who persist in facing the transcendental Other,and this is what the theory of Levinas values as essence.It is the facing towards the Other that gives Barnes’s works a slice of positivity in their comprehensively deconstructional moves.Specifically,the paradoxical coexistence of deconstruction and ethics is presented in the fragmentation of history,Englishness and memory respectively.The fragmentation of historical metanarrative is realized through collage,which then enables the appearance of the face of the Other.Both in Flaubert’s Parrot and A History of the World in 101/2 Chaptery Barnes has experimented with collage of narrative voices,genres and stories.He foregrounds several underprivileged voices that are previously suppressed in binary structures of western thought in the collage of narrative voices,which includes female voice of Flaubert’s lover Louise Colet,animal voice of an imaginary stowaway woodworm in Noah’s Ark,and a mad person’s voice who accounted a story of“One Flew over the Cuckoo’s Nest".In the collage of genres,Barnes manages to include various genres such as bestiary,chronology and epistolary style within the boundary of a novel,hence deconstructing not only the genre of novel itself,but also the general distinction between fictional writings and non-fictional writings.What’s more,it is through the collage of narrative voices and genres that he becomes capable of deconstructing the grand narratives in historic writings,which is itself a presentation of new historical ideas of the "textuality of history".Barnes’s collage of stories,however,allows ethical significances to arise.In Flaubert’s Parrot,three stories are imbedded into each other and in A History of the World in 101/2 Chapter,ten and a half stories are collaged horizontally so that the faces of the Other in ethical relations manifest for the protagonists in these two novels.The fragmentation of Englishness is realized by the construction and deconstruction of it through the employment of two lists,which thereafter lead to the transcendence from need to desire in Levinasian terms."Fifty Quintessences of Englishness" and the clue list for detection of Arthur’s Conan Doyle are two vital lists that are crucial to the plot development in England,England and Arthur&George.Theoretically speaking,list is a structure that combines fragments together to form totality,which is upon first glance the functions of both above-mentioned lists,with the former acting as a blueprint for an amusement park,and the latter as a guideline for solving a crime.Yet Barnes’s purpose is not to present such a process of reaching totality,but to parody it,and through parodying reveals the subjective construction of Englishness.Such a deconstruction of Englishness is a direct response to a "crisis of Englishness" in Britain at the turn of the century.Despite the deconstructional parody,with Martha’s elusive admiration for an insane Dr.Jones actor in England,England,and Arthur’s persistent zeal towards spiritualism in Arthur&George,Bames still manages to present an ethical pursuit of the infinite and insatiable desire,which is evoked by the alterity of the Other.In the fragmentation of memory,Barnes has achieved the deconstruction of memory and an ethical saying towards the other through presentation of episodic memories.He employs episodic memory as the basic unit of recalling the past in the novel The Sense of an Ending and his own autobiographie memoir Nothing to be Afraid Of.Drawing heavily on memory studies from the field of cognitive psychology,the current study applies the dynamic episodic memory system to analyze Barnes’s writing of personal memories.As a result,it is discovered that by staging the complex interaction of many elements in the episodic memory system(e.g.original event and cognitive environment in coding phase,and recoding and retrieving cue in the retrieving stage),it is possible to reveal the non-static feature of memory in the original static medium of a novel.Such a process makes the cognitive errors in memory more apparent and renders the narrative of memory as unreliable narration,and deconstruction of memory is thus achieved.Nevertheless,the dynamic presentation of memory process becomes at the same time an action of saying in the Levinasian sense.Saying,as an ethical obligation,forces the memory narrators to break from the world of the said and hegemony of the self.Therefore,in the writing of fragmentation through episodic memories,stereotypes and misunderstandings are resolved,and individuals hence fulfills the ethical obligations towards the Others of their memories.Bames’s writing of fragmentation is a representation of attitude towards the postmodern context that involves both deconstruction and ethics of transcendence.It is an insistence on the deconstruction of history,Englishness and memory,all of which essential to the construction of identity,and a display of the fragmentation of totality in personal narratives and metanarratives.In addition,it is a relentless striving for carrying out the Levinsian ethical obligation towards alterity,that defies the ruins of relativity and nihilism caused by postmodern deconstruction.By analyzing the coexistence of deconstruction and ethics in Bames’s writing of fragmentation,the significance of this research lies in the following aspects.Firstly,as a prominent feature of Bames’s oeuvre,fragmentation in form and content has not received enough attention,not to mention systematic study.Therefore,a comprehensive study on the writing of fragmentation would offer a new perspective for the interpretation of Bames’s works.Secondly,although the deconstructional dimension of Barnes’s writing has been discussed by relatively large amount of research,a positive dimension that can be revealed through ethical behaviors of his characters has been generally ignored.The application of the coexistence of deconstruction and ethics into Bames’s works allows a more full-fledged insight into the writer.Lastly,the combination of postmodern deconstructional thoughts with Levinasian ethics of the Other brings about a new multi-disciplinary approach of interpretation.更多还原