当代外语研究

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2024 , Vol. 24 >Issue 2: 142 - 152

DOI: https://doi.org/10.3969/j.issn.1674-8921.2024.02.013

文学

论凯茜·阿克的“游戏剽窃”:《远大前程》的案例分析

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  • 上海交通大学,上海,200240
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

网络出版日期: 2024-04-28

基金资助

国家社科基金重点项目“《劳特利奇叙事理论百科全书》的翻译与研究”的阶段性研究成果(编号 19AWW001)

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On Kathy Acker’s “Playgiarism”: A Case Study of Her Great Expectations

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Online published: 2024-04-28

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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。

关键词： 游戏剽窃; 《远大前程》; 文类混淆; 碎片化; 声音

本文引用格式

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 . DOI: 10.3969/j.issn.1674-8921.2024.02.013

Abstract

Kathy Acker is best known for playgiarism. A neologism by Raymond Federman to describe the narrative strategies of metafiction, the term means plagiarism + play. Acker is so fond of using playgiarism that, even after she passed away, people feel they owe her “a plagiarized tribute”. This article is intended to analyze the four patterns of playgiarism demonstrated in her Great Expectations, namely, the play of plagiarism, the mixture of genres, the fragmentation of intertexts, and the voice in the “voiceless”. The ultimate purpose of playgiarism for Acker is to make louder the literary cry for the voice of feminism.

Key words： playgiarism; Great Expectations; mixture of genres; fragmentation; voice

参考文献

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