摘要
从《射雕》、《神雕》、《倚天》这三部可以从中梳理出汉蒙关系的伸展变化的“三部曲”中,我们看到了一个多变而又具有一定整一性的蒙古形象,无论我们从父性的替代、互补的他者还是从镜像的映射的角度去看待这一形象,我们都能发现这一形象在金庸的总体性民族国家叙事之中具有非同寻常的意义:它在深层意义上已经成为了“异质整合与对话型”民族国家主体性之中不可或缺的一个要素。
According to the Triology（The Legend of Condor Heros, The Return of Eagle Heroes, and Heaven Sword and Dragon Sabre）, in which the changing and developing of the relation between the Han and Mongolia can be tracked down, we can get a viriable yet constant Mongolian image. No matter what points of view we take： the substitution of Fatherness, the inter-supplement of the other, or the reflection of the mirror, finally we can find the importantance of this image in JingYong＇ s total nation - state narration. In the significant meaning, the image has become an indispensable essence in the process of forming the subjectivity of kind of interegating the heter- ogeneity and communicating nation- state.
出处
《内蒙古民族大学学报（社会科学版）》
2005年第4期33-35,共3页
Journal of Inner Mongolia Minzu University：Social Sciences
关键词
蒙古形象
虚构与史实
民族国家叙事
文化他者
替代的父性
镜像映射
异质整合与对话
The Mongolian image
Fiction and history
Nation - state narration
The cultural other
Substitutial fatherness
Reflection of the mirror
Interegatating the heter-ogeneity and communication
作者简介
胡旭东（1974-），男，重庆人，北京大学外国语学院世界文学研究所讲师。
