《蝴蝶君》的话语权之争  

Conflicts of Discourse Power Displayed in M. Butterfly

作　　者：陈尚坤[1] 

机构地区：[1]南京邮电大学外国语学院,江苏南京210046

出　　处：《南京工程学院学报（社会科学版）》2011年第4期15-18,共4页Journal of Nanjing Institute of Technology：Social Science Edition

摘　　要：黄哲伦的《蝴蝶君》以人物聚散的离奇情节与细腻的心理刻画有力地颠覆了东方对西方依存关系的虚假命题。作者在其作品中试图解构东方主义、反击文化殖民并颠覆西方殖民话语权。由于作者的文化身份、成长经历以及他身处的社会历史环境的局限性,作品对东方主义的解构是有限的,特别是剧中人宋利伶的角色本身就是一个矛盾体:一方面他被看作是颠覆殖民话语的一次努力尝试,另一方面角色本身却强化了西方对东方的固有成见。David Hwang＇s M. Butterfly subverts the pseudo-hypothesis of the Oriental reliance on the Occident with its exceptional arrangement of plots and delicate depiction of dramatis personae. Hwang tries to deconstruct Orientalism, retort culture colonialism and topple down the discourse power of western colonialism. Due to Hwang＇s cultural identity, personal life as well as the social settings he experienced every day, M. Butterfly only partly subverts Orientalism. Particularly, the dra matis persona, Song, is a paradoxical creation： While he is often considered to be the author＇s effort to subvert the colonial discourse power, he has actually strengthened the West＇s stereotyped bias against the East.

关 键 词：东方蝴蝶 文化殖民 颠覆 话语权 

分 类 号：I106.4[文学—世界文学]