当代外语研究 ›› 2024, Vol. 24 ›› Issue (2): 142-152.doi: 10.3969/j.issn.1674-8921.2024.02.013
出版日期:
2024-04-28
发布日期:
2024-04-28
作者简介:
苏坤,博士,上海交通大学外国语学院副教授、硕士生导师。主要研究方向为叙事学、后现代主义文学和英美文学。电子邮箱:susu00@sjtu.edu.cn
基金资助:
Online:
2024-04-28
Published:
2024-04-28
摘要:
凯茜·阿克以“游戏剽窃”而著称。“游戏剽窃”意为剽窃+游戏,源自费德曼之口,用来描述元小说的叙事策略。阿克如此偏好它,以至于在她逝世后,人们还是觉得尚欠她一种“向剽窃致敬”。文章旨在分析阿克《远大前程》中的四种“游戏剽窃”形态,一是游戏中的剽窃,二是混淆文类,三是互文本的碎片化,四是“无声”中的有声。阿克“游戏剽窃”的终极目的,就是在文学上提升女性主义的呐喊声。
中图分类号:
苏坤. 论凯茜·阿克的“游戏剽窃”:《远大前程》的案例分析[J]. 当代外语研究, 2024, 24(2): 142-152.
SU Kun. On Kathy Acker’s “Playgiarism”: A Case Study of Her Great Expectations[J]. Contemporary Foreign Languages Studies, 2024, 24(2): 142-152.
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