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奥康纳作品的叙事笔调自始至终介于“生死疲劳”的宗教信仰与“向死而生”的哲学人生之间的镜像聚焦。她扎根于对生命坦诚热忱之追寻的美学叙事基础,不仅俨然地维护了小说书写的最高真实性,而且也掷地有声地赋予了其大量严肃的文学创作经验中关乎“他在”与“此在”意义较为深刻隽永的悖诞寓意。该文将从以下三大视角展开探源阐发:一、存在与救赎:神的哲学启蒙及其多重意义;二、经验与困局:通往自身意识的哲学意义;三、亲近与悖谬:作家叙事的精神现象及自由本质。窥其所指,一方面奥康纳投射性地彰显人类超越自身不可避免的局限之心灵情感真容;另一方面她果敢地激起那些已被多数人或保持沉默或佯装不知的命运归宿和人生预言的关注。这在很大程度上契合了奥康纳对生存困境之深层意涵展开“去蔽”与“祛魅”的创作初衷及生命美学的最新旁注。
O’Connor’s narrative tone from start to finish between the “life and death fatigue” religious beliefs and “life and death ” of the philosophical life focused mirror. She is rooted in the aesthetical narrative basis for the pursuit of frank enthusiasm for life, not only preserving the highest authenticity of the novel, but also throwing its voice to a great deal of serious literary creation experience in relation to This is in the meaning of the more profound sense of meaninglessness. This article will explore the source from the following three perspectives: First, the existence and redemption: God’s philosophical enlightenment and its multiple meanings; Second, the experience and predicament: leading to the philosophical meaning of their own consciousness; Third, the approach and the paradox: the writer The Spiritual Phenomenon and Free Essence of Narration. On the one hand, O’Connor projected the highlight of man’s spiritual real content beyond his inevitable limitations; on the other hand, she boldly aroused the fate of those who have been silenced or pretended not to be known by the majority Prophecy of concern. To a large extent, this is in line with O’Connor’s deep meaning of living in distress and his latest bookmarks of life aesthetics.