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论凯茜·阿克的"游戏剽窃":《远大前程》的案例分析

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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。
On Kathy Acker's"Playgiarism":A Case Study of Her Great Expectations
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.

playgiarismGreat Expectationsmixture of genresfragmentationvoice

苏坤

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上海交通大学,上海,200240

游戏剽窃 《远大前程》 文类混淆 碎片化 声音

国家社科基金重点项目

19AWW001

2024

当代外语研究
上海交通大学

当代外语研究

CHSSCD
影响因子:0.731
ISSN:1674-8921
年,卷(期):2024.(2)