作　　者： ;

机构地区： 广东外语外贸大学英语语言文化学院

出　　处： 《绵阳师范学院学报》 2016年第6期129-134,共6页

摘　　要： 在《赎罪》中,麦克尤恩安排了三个家庭父亲不同程度地"缺席",这与小说的人物主题发展、深刻的社会背景及作家的身份焦虑密切相关。虽然父亲在显性层面上是缺席的,但纵观全文的男性形象,父性权威和霸权性男性气质弥漫并贯穿整个故事进程,父亲形象以种种变形和隐喻的身份"在场",无形中影响着小说主人公们的发展。麦克尤恩的这种男性书写不仅描绘了二战背景下的男性图景,而且表达出作者对消解父权文化,摒弃阶级封锁,以及建构更加和谐两性关系的热切关照。 In his novel Atonement,Ian Mc Ewan ＂ absents＂ the father images of three families in varying degrees,which is germane to the figural and thematic progress,the pregnant social situations,as well as his anxiety over identity. Although the father images are absent on an overt level,regarding the male images within,paternalistic authority and hegemonic masculinity keep permeating through the whole gamut of the work. Father images ＂present＂ in manifold transformed and metaphorical forms,invisibly dictating the advancement of protagonists. Mc Ewan＇s such male writing not merely delineates the male picture in the Second World War context,but also conveys his veritable concerns： to dissolve patriarchal culture,to forgo class seclusion,and to construct a more harmonious relationship between the two sexes.

关 键 词： 伊恩 麦克尤恩 赎罪 父亲形象 在场 与 缺席 父权文化

领　　域： [文学—世界文学]