视角·结构·策略——从《鬼作家》到《退场的鬼魂》叙事的承袭与嬗变

自1979年发表《鬼作家》到2007年出版《退场的鬼魂》,菲利普·罗斯的叙事技巧既有承袭也有嬗变:虽然在叙事视角上都采用回溯的第一人称"内聚焦",但视角与声音的相异或一致凸显叙事的稚嫩或成熟;虽然在叙事结构上都采用框架式,但叙述时间与故事时间却有简单和复杂之别;虽然在叙事策略上都采用虚实相间的后现代小说艺术手法,但就叙述者与作者、叙述本身、叙述文本中主人公的真实性与虚构性界线而言,《退场的鬼魂》比《鬼作家》的叙述更复杂、更娴熟.从视角、结构、策略三个维度看,《退场的鬼魂》承袭前作叙事主体、文本语境与叙事风格,含而不露地生成兼具文本间性的独异性,其充满叙事性想象的小说文本为"祖克曼系列小说"画上完美的句点,可视为菲利普·罗斯"祖克曼系列"叙事艺术技巧上的扛鼎之作.

Perspectives, Structures, Strategies: Inheritance and Evolution of Narration from The Ghost Writer to Exit Ghost

From issuing The Ghost Writer in 1979 to publishing Exit Ghost in 2007, Philip Roth underwent a process of inheritance and evolution in exerting and developing narrative techniques. With identical the first person "internal focus" narrative in the narrative perspective, otherness or consistency of the narrative perspective and the narrative voice highlights immaturity or maturity of the narration. With framework structure in narrative structures, narrative time and story time differ in simplicity or complexity. With similar artistic techniques of void-solid combination in narrative strategies of the postmodern fiction, narration in Exit Ghost seems to be more complex and polished than that in The Ghost Writer as far as the boundary terms between reality and fiction about the narrator and the author, the narrative text itself and the protagonist in the narrative text are concerned. From angles of perspectives, structures and strategies respectively, Exit Ghost inherits the narrative subject, text context and narrative style of previous works and implicitly generates uniqueness with intertextuality, with its novel text full of narrative imagination providing a perfect ending to "Zuckerman saga", which can be viewed as Philip Roth''s greatest work of the narrative art among "Zuckerman saga".