Abstract: Starting from an archetypal analysis of Leonard, the protagonist of Barnes’ Interference, this paper finds that Leonard is a passionate practicer of Nietzsche’s doctrine of  the will to power. Nietzsche’s doctrine of thewill to power is the core around which the spiritual part of the protagonist is fabricated. While he is constructing the image of the protagonist, Barnes betrays his sympathy and understanding, as well as his despising and irony. With deep understanding, full sympathy and even a touch of admiration, the novelist vividly presents Leonard’s views on loneliness, morality, religion and feminism, which are based on Nietzsche’s doctrine of the will to power. Meanwhile, Barnes takes a mocking attitude towards Leonard’s weirdness and eccentricity. Stimulated by Dionysian spirit which is based on Nietzsche’s doctrine of the will to power, art reaches its summit in the pursuit of beauty. Beauty of artis what Barnes highly extols, but the application of artistic doctrine in real life incurs a lot of embarrassment and even results in the tragedy of the Nietzschean hero. Extolling the beauty of art has been Barnes’ favorite theme, but the intermingling of art and life is the object which Barnes satirizes and criticizes. Paradoxically admiring and mocking the Nietzschean hero, Barnes renders the story with a postmodern style, which embraces contrasts and paradoxes.

Keywords: Julian Barnes; Interference; Nietzsche; Will to Power; satirize; parody

摘要： 本文从分析巴恩斯小说《干扰》的男主人公莱昂纳德的人物原型入手，发现莱昂纳德是尼采权力意志论的忠实践行者，尼采的权力意志论是解读该人物艺术形象的关键。巴恩斯在塑造该人物时，既注入了同情和理解，也流露出鄙夷和讽刺。他让莱昂纳德生动演绎基于尼采权力意志论的孤独观、道德观、宗教观和女性观时，充满同情、理解，甚至不无敬意，但同时也流露出作者对践行该理论的小说人物的嘲讽和批评。基于权力意志论的狄奥尼索斯精神体现了艺术的醉境之美，但莱昂纳德将艺术观简单地还原于生活、把生活与艺术相混淆，酿成了其人生悲剧，也成为作者讽刺的对象。在对尼采式英雄莱昂纳德的崇敬和嘲讽中，体现了巴恩斯包容矛盾和悖论的后现代创作风格。

关键词: 朱利安•巴恩斯, 《干扰》, 尼采, 权力意志, 反讽, 戏仿