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随着后现代主义文学批评家及小说家对于历史真实与本质属性等“宏大叙事”的质疑 ,以及越来越多的历史人物出现在小说文本之中 ,传记就失去了它作为客观的历史叙事的文类概念。越来越多的批评家把传记看作是介于历史叙事和小说叙事之间的一种新型的叙事实践。《奥斯瓦德的故事》就属于这种“谜”一般的传记体叙事。梅勒通过这种叙事手法 ,从完全不同于德里罗等小说家的视角 ,亦真亦幻地勾画了凶手奥斯瓦德具有悲剧色彩的、“谜”一般的嬉皮士形象。
As postmodernist literary critics and novelists questioned the “grand narrative” of historical truth and essential attributes, and more and more historical figures appeared in the novel’s text, biographies lost it as an objective historical narrative The genre concept. More and more critics view biographies as a new kind of narrative practice between historical narration and novel narration. “The Story of Oswald” belongs to this “mystery” general biographical narrative. By means of this narrative, Mailer, from a totally different point of view from such novelists as Derourot, also truly and illusively depicts the murderous Oswald’s tragic “riddled” hippy image.