摘要
文化记忆已逐渐成为流散文学研究的新视角。作为一部优秀的流散作品,莫里森的《慈悲》展演了建筑、文字和身体等三种建立在空间维度上的文化记忆形式及其与身份认同之间的密切关系:白人雅各布通过为自己修建豪宅体现其对欧洲殖民文化记忆的认同;黑人女性代表佛罗伦斯用手指甲在雅各布新修的豪宅内部刻入其创伤记忆,从内部消解白人主流记忆,建构了一种属于黑人女性群体的反历史;而印第安土著莉娜则将土著文化记忆以身体化的方式进行传承。这些空间化的文化记忆形式不仅体现了流散者的个体身份认同,而且隐含了其所属民族的文化身份认同。
Cultural memory has become a new perspective for studies of diasporic literature.As an exceptional piece of diasporic writing,A Mercy demonstrates three space-based forms of cultural memory as well as their association with identity:the architecture,the character and the body.The magnificent two-storey mansion Jacob spares no efforts in building for himself actually embodies his identification with the collective cultural memory of the European colonists.Florence,a representative of the black females,materializes her traumatic memory in the interior of Jacob’s mansion by inscribing characters with her own fingernails,thus deconstructing the mainstream white memory and constructing a black females’anti-history.Lina,the Indigenous Indian girl,performs Indian tribal cultural memory in her daily life and makes it internalized through her body.The spatialized forms of cultural memory in A Mercy not only manifest individual identification of the diasporic figures,but also insinuate the cultural identities of the races to which they belong.
出处
《外文研究》
2018年第3期29-34,106-107,共6页
Foreign Studies
