《阁楼上的佛》的叙事艺术  

The Narrative Modes in The Buddha in the Attic

作　　者：张莉[1] 张妍[1] Li Zhang;Yan Zhang(School of International Studies,Zhengzhou University,Zhengzhou,Henan,China)

机构地区：[1]郑州大学外国语与国际关系学院,河南郑州450000

出　　处：《外国语言与文化》2021年第2期47-58,共12页Foreign Languages and Cultures

基　　金：河南省高校科技创新人才(人文社科类)支持计划“英美左翼文学研究”(2019-CX-002);河南省哲学社会科学规划项目“美国纽约知识分子群女作家研究”(2020BWX024);郑州大学人文社会科学优秀青年科研团队培育计划(2020-QNTD-03)

摘　　要：日裔美国作家朱丽·大冢的小说《阁楼上的佛》讲述了第一代日裔女性移民从作为照片新娘前往美国,直至二战时期被迫迁入拘留营的经历。小说多元化的叙事增强了作品的艺术效果并参与了文本意义的生成。小说采用第一人称复数回顾性叙事视角,运用人物在言语和思想两个维度上的不同表达形式,在宏观叙述结构上进行点彩式安排,使聚焦对象不断在不同个体之间转换,呈现了照片新娘的个体经验和集体记忆,揭示了第一代日裔女性移民经历的多重生存困境。The Japanese-American writer Julie Otsuka’s The Buddha in the Attic tells the story of the first generation of Japanese-American female emigrants who went to the United States as picture brides and were forced to move into detention camps during World War II.The multiple narrative modes in the novel enhance the literary artistry and add textual nuances.The novel adopts a first-person plural retrospective perspective and applies various representations of speech and thought.Through stippling in the macro-narrative structure,the objects of focus in the novel switch between various individual picture brides,representing both their private experience and collective memory and revealing the harsh living conditions of the first generation of Japanese female emigrants.

关 键 词：《阁楼上的佛》 日裔美国作家 朱丽·大冢 叙事形式 族裔文学 

分 类 号：I712.074[文学—其他各国文学]