The play of the double in postmodern American fiction
The play of the double in postmodern American fiction
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美国后现代小说中的双重角色
DOI：
10.2307/2927737
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发表时间：
1994
影响因子：
0.5
通讯作者：
G. Slethaug
中科院分区：
文献类型：
--
作者：
P. Perkins;G. Slethaug
《后现代美国小说中的双重角色》一书借助巴特、德里达、福柯和拉康等后结构主义理论，对二重身在当代的角色进行了评价。在柏拉图的作品中，二重身或替身曾被用来解释性吸引;在西方民间传说中，它意味着即将到来的死亡;在前现代的英国文学中，它被用来探索灵魂与身体、理性与良心或任何二元对立的关系;在20世纪的文学中，它被用来描绘意识与无意识之间的冲突。传统上，双重肯定了一个不可分割的，固定的身份和普遍的绝对理性的人文主义观点。戈登·E Slethaug认为，在后现代文学中，双重不再作为统一的隐喻（或异常的形而上学-物理冲突和心理分解），而是在一个破碎的宇宙中庆祝一个不连续的自我。一个自我意识的文学装置，它现在评估人类的愿望，结构语言，小说，和所有的现实。通过将他的理论具体应用于弗拉基米尔纳博科夫、托马斯品钦、约翰霍克斯、约翰巴思、理查德布劳蒂根和雷蒙德费德曼的作品，斯莱陶格将“后现代美国小说中的双重角色的游戏”调整到脱离弗洛伊德精神分析或荣格原型主义的心理学视角的小说作品中，从而使他的作品有别于早期对双重角色的研究。Slethaug研究的作者关注的是社会和小说中符号结构的变形和重建：在《绝望》中，纳博科夫展示了二重身如何将类比、隐喻、哲学唯心主义和先验神秘主义联系起来。在《万有引力的彩虹》中，品钦质疑二元性，将其置于擦除之下，并肯定了二元主体间性;他还审视了人类将系统等同起来的倾向。在《血橙》一书中，霍克斯研究了在弗洛伊德心理学中通常被视为对立的性欲和死亡的双重驱动力在移情方面的相似之处。在《迷失在欢乐屋》中，巴斯展示了一系列令人眼花缭乱的替身，它们同时使用和取代了先前的意义。在《鹰线怪物》中，布劳缇根对双重人格的极简主义元小说式模仿描绘了我们对现实的自恋看法。在《要么加倍，要么一无所有》中，费德曼颠覆了传统的加倍，揭示了它游戏般的结构和传统的生活观和文本观。Slethaug表明，通过询问双重符号，每个作者都对双重符号所依赖的二元性提出了质疑，使用并颠覆了传统意义，并重振了一种陈词滥调的文学手段。这本开创性的书将吸引那些对当代理论，当代美国文学和文学幻想感兴趣的人。
With the assistance of poststructuralist theories by Barthes, Derrida, Foucault, and Lacan, "The Play of the Double in Postmodern American Fiction" evaluates the contemporary role of the doppelganger. The doppelganger or double was previously used in Plato's works to explain sexual attraction; in Western folklore to signify imminent death; in premodern English literature to explore the relationship of the soul and the body, reason and conscience, or any number of binary oppositions; and in twentieth-century literature to depict the conflict between the conscious and the unconscious. Traditionally the double has affirmed rational humanist views of an indivisible, fixed identity and universal absolutes. Gordon E. Slethaug argues that in postmodern literature the double has ceased to function as a metaphor for unity (or aberrational metaphysical-physical conflict and psychological decomposition) and instead celebrates a discontinuous self in a fragmented universe. A self-conscious literary device, it now assesses the human desire to structure language, fiction, and all reality. By specifically applying his theory to works by Vladimir Nabokov, Thomas Pynchon, John Hawkes, John Barth, Richard Brautigan, and Raymond Federman, Slethaug gears "The Play of the" "Double in Postmodern American Fiction "to fictional works that depart from the psychological perspectives of Freudian psychoanalysis or Jungian archetypalism, thus setting his work apart from earlier studies of the double. The authors Slethaug examines are concerned with the de-formation and re-formation of signifying structures in society and fiction: In "Despair, "Nabokov shows how the doppelganger has linked analogy, metaphor, philosophical idealism, and transcendental mysticism. In "Gravity's Rainbow, "Pynchon interrogates binarity, putting it under erasure, and affirms binary intersubjectivity; he also looks at the human tendency to equate systems. In "Blood Oranges," Hawkes investigates the way in which the twin drives of eroticism and death, commonly viewed in Freudian psychology as antithetical, are similar in subject to transference. In "Lost in the Funhouse, "Barth presents a dizzying array of doubles that simultaneously use and displace previous significations. In "The""Hawkline Monster, "Brautigan's minimalist metafictive parody of the double depicts our narcissistic view of reality. In "Double or Nothing, "Federman subverts the conventional double, exposing its gamelike structures and traditional views of life and text. Slethaug shows that by interrogating the sign of the double each author examined questions the binarity upon which the double is fixed, uses and subverts traditional significations, and reinvigorates a cliched literary device. This pathbreaking book will engage those interested in contemporary theory, contemporary American literature, and the fantastic in literature.