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读完《守门员面对罚点球时的焦虑》(以下称《守门员》),脑海里多半漂浮着一些孤立无援的句子和纷乱的细节。连贯的故事情节,鲜明的小说人物——这些传统小说里最典型的因素,在这部小说里已经被稀释到极其次要的地位。《守门员》收入小说四篇:较长的两篇《推销员》和《守门员面对罚点球时的焦虑》,两个短篇《监事会的欢迎词》和《一个农家保龄球道上有球瓶倒下时》。写这些小说时,汉德克不过20多岁,年轻人特有的朝气和突破成规的勇气在这些小说中打下了很深的烙印。他曾在宣言性质的文章《文学是浪漫的》和《我是一个住在象牙塔里的人》中阐明自己的主张:“文学对他来说,是不断明白自我的手段;他期待文学作品要表现还没有被意识到的现实,破除一成不变的价值模式,而传统的追求现实主义的描写文学对此则无能为力。”
Reading the “goalkeeper in the penalty when facing the anxiety” (hereinafter referred to as “goalkeeper”), my mind mostly floating in some isolated sentences and confusing details. Coherent storyline, the distinctive character of the novel - the most typical of these traditional novels, has been diluted to a very secondary position in this novel. “Goalkeeper” four income novels: two longer “salespeople” and “goalkeeper anxiety in the penalty shootout”, two short “welcome message from the board of supervisors” and “a bottle down on a farm bowling alley Time”. When writing these novels, however, Handd, though only in his twenties, has exerted a deep imprint on these novels with the unique vigor and courage of young people. He made his claim in the Manifesto of “The Romance of Literature” and “I am a Living in the Ivory Tower”: “Literature is, for him, a means of constant self-understanding; he is looking forward to literature Works should show the reality that has not yet been realized, break the immutable value model, and the traditional pursuit of realist descriptive literature can not do anything about it. ”