Abstract

Acclaimed as “the Queen of Canadian literature”, Margaret Atwood is renowned for her prolificacy and experimental writing techniques.
Published in 2000, The Blind Assassin has been drawing much attention from home and abroad. Scholars have done numerous researches on it from various aspects, among which we can find some studies on its intertextual relations with previous texts; however, it’s rare to see researches that focus on parody, a writing skill used deftly in the novel.
In light of an important textual strategy in western postmodern context－parody, the thesis attempts to manifest multi-referential relations between The Blind Assassin and traditional genres, such as Gothic novel and fairy tale to show the pluralistic and encompassing postmodern characteristics. The master use of parody in The Blind Assassin aims at revealing its high artistry and in-depth meaning, thus providing a fresh appreciation of the novel.
Complicated and intriguing as it is, The Blind Assassin is a fantastic postmodern metafiction thickly encased in a considerable number of referential relations. Through parody, Atwood inherits and subverts the literary past, revealing the postmodern paradox: the co-presence of complicity and critique.

Key words:  Margaret Atwood  The Blind Assassin  Parody  Gothic novel  fairy tale pattern

摘要

玛格丽特·阿特伍德被誉为“加拿大文学女皇”。她以多产和先锋的实验手法誉满全球。
《盲刺客》于2000年发表，同年获得英国布克奖。自这部小说出版至今，学者们对它的介绍及评论不胜枚举，分别从不同的层面对其进行了解析，其中有些学术论文也指出它和一些前文本的相互指涉关系，但是从戏仿的角度切入揭示其深邃思想性的论文还相对比较缺乏。
本文通过用当代西方后现代文化思潮中的一种重要的文本策略—戏仿，来解读《盲刺客》与传统体裁之间的多种指涉关系，尤其是对哥特小说及经典童话模式的继承与颠覆，展现其多元并包的后现代艺术特点，力图揭示《盲刺客》高超的艺术手法和丰富的内涵，为读者解读和欣赏这部小说开辟新视野。
《盲刺客》结构复杂奇巧，是一部能够建构多种互涉关系的后现代元小说。阿特伍德通过对戏仿的运用，继承同时又颠覆了文学传统，反映出后现代主义的矛盾性和悖论性。

关键词: 玛格丽特•阿特伍德；《盲刺客》；戏仿；哥特小说；经典童话模式