伊恩·麦克尤恩小说的叙事伦理

伊恩·麦克尤恩小说呈现了西方尤其是当今英国社会中人们面临的一个个伦理矛盾和困境,对善与恶、异装癖、恋童癖、虐待儿童、受虐与施虐、金钱与政治、自我与利他等伦理问题进行了深刻反思。同时,作家的叙述伦理形式也是多种多样,他主要选择从人物立场道出具有伦理指向的话语、反讽、象征和视角选用等方式来表明自己的伦理态度。     

一种新的右手定则替代佛莱铭左手及右手定则

大凡读过高中的人,都知道佛莱铭左手和右手定则,这种左、右定则很容易记错,有时要将手扭歪才能判定其方向,很难运用．为了方便学生记忆及方便判定方向,设法设计出一种新的右手定则,可以同时判定磁场对电流的作用力及磁场中导线所产生的感生电流的方向,显然这种右手定则是一个创新．     

析伊恩·麦克尤恩《最初的爱情，最后的仪式》的多重情感

摘要：现代工业文明对人类情感的压制是西方作家的传统创作主题，英国当代作家伊恩·麦克尤恩在其代表作《最初的爱情，最后的仪式》中延续了对现代工业文明下情感状态的思考。小说集包含的八个短篇小说构成了一张由孤独、荒谬和欲望其中又掺杂纯真在内的多重情感交织的网，以此反映当代人类面临的生存境遇。麦克尤恩的创作立足于当今英国社会现实，很好地体现了文学反映社会现实的功能。     

Visual Expressions of Corporate Superiority: A Review of Jacqueline Hassinck’s Photographic Art Project and Booklet ‘The Table of Power’

Arguing that institutional rationality constitutes a meta‐institution upon which the specific institutions of the capitalist social order depend, this paper explores the possibility that it might be interrogated through the imaginary worlds created by readers in their responses to literary fiction. It does so by constructing a fictive encounter between the response aesthetics of Wolfgang Iser and two novels by Ian McEwan, Saturday and Enduring love, both of which feature institutional rationality as a core element of the ‘reality’ from which they are constructed.

The conclusions are somewhat negative. The problems posed to McEwan’s personifications of institutional rationality, despite the author’s reputation for arbitrary and sometimes macabre plotlines, are nowhere such as to call into question their understandings of the events which befall them. Nor, reading the novels as explorations of that very one‐dimensionality, are readers likely to be induced into a questioning of their own understandings of the world. This is because the novels in question, like most modern literary fiction, have been produced within a tradition which reaches back to the romantic/humanist reaction to institutional rationality, and this makes it possible for readers to distance themselves from characters in which it is exemplified. Far from producing a critical Imaginary, readers who respond in this manner are likely to externalize any interrogations of institutional rationality suggested by its fictional recontextualization and produce, instead, one in which the superiority of their own understandings of the world is confirmed. Whilst this may be opposed to institutional rationality in the routinised sense of an antagonistic accommodation, nothing new is added by the reading of the novels.

Whilst some of the problem may lie in the characterization of the principle protagonists in the selected novels – which is both flat and static – it is suggested that there is also a problem with the initial expectation of a critical imaginary created by Iser’s theory. The fact is that its creation depends on an assumed response on the part of the reader that has no evidential basis. This empirical deficit cannot be made good either by Iser’s earlier construct of an ‘implied reader’, nor by his later posit of self‐aware role‐taking as a fundamental anthropological need. Whilst one cannot rule out the possibility that some readers might respond as Iser supposes – even to the novels discussed in this paper – there is no particular reason to rule it in either.     

论麦克尤恩《赎罪》中的重复

在伊恩·麦克尤恩的小说《赎罪》中,重复的运用是作品的一个重要特征。它体现了人物回溯过去的本能,展现了作为相似性中的阐释作用,突显了作为差异性中的建构功能。对小说中重复及其意义的讨论,既是对重复这一技巧本身的探索,也是对小说《赎罪》丰富内涵的一次研究。     

Fantasias of terrorism

An introduction to this special issue of the Journal for Cultural Research, this essay explains how terrorism may be said to equate to a “fantasia”, and how this fantasia has operated in different times and places. It also takes a close look at the popular fantasia promoted by the entertainment industry today, beginning with representations of the enemies of James Bond. In popular culture, terrorism is a spectre (along the lines of Ian Fleming’s SPECTRE) bent on the destruction of society, and yet it is also a sign of disorder at the heart of the very society which it attacks. Jacques Derrida’s comments on 9/11, using the metaphor of an auto-immune disorder, are pertinent. Film and television fantasias of terrorism offer critiques of the modern world order, but they offer the wrong critique.     

水泥裂缝中开出的花朵--狂欢化解读伊恩·麦克尤恩《水泥花园》里孩子们的笑

素有"恐怖伊恩"之称的英国当代作家伊恩·麦克尤恩1978年所著小说《水泥花园》讲述了在失去正常社会秩序和规范的家庭荒原中,未成年孩子们经历的痛苦、无序、混沌的成长。运用巴赫金的狂欢化理论解读《水泥花园》,认为笑是孩子们从自我放逐走向成熟的重要线索。孩子们标志性的三次狂欢式的笑既是对权力交替的庆祝,又是对父母权威的嘲讽;既是对迎接新生的礼赞,又是对过去身份的告别。以笑为依托获得成长的孩子们,并非如评论界所言在伦理缺失的荒原上胡作非为,而是在用狂欢的庆典争取欢乐的自由,用笑声的养分培育出水泥缝中的生命之花。     

伊恩•麦克尤恩历史小说《黑犬》的新历史观

新历史主义主张“文本的历史性和历史的文本性”,在承认历史的主观性,拒斥“宏大叙事”的同时,也认可了历史和文学在历史真实和艺术虚构上的相通性,让文学特别是历史小说获得了阐释历史人物和历史事件的应有空间。伊恩?麦克尤恩小说《黑犬》蕴含了丰富的新历史主义思想。小说通过不可靠叙述、视角转换与碎片化等手段客观地展现了主人公琼和伯纳德对遭遇黑犬和其他共同经历和见证的一些个人事件的不同记忆,说明历史和过去的不确定性和多维度性,以及它对“当下”个人的厚重影响。     

《只爱陌生人》中的身体话语

英国当代小说家伊恩·麦克尤恩在其作品《只爱陌生人》中着重刻画了某些具有隐私意味的身体器官,并以身体为视角向读者揭示恐怖主题。针对身体与意识的关系,探讨个体的生存状态,并说明身体已然成为窥视人物内心世界和隐秘情感的锁眼。