从《最蓝的眼睛》和《秀拉》看莫瑞森的审丑意识  

A Study of Morrison's Consciousness of“Ugliness”in The Bluest Eye and Sula

作　　者：苏冬凉[1] 

机构地区：[1]泉州师院外国语学院,福建泉州362000

出　　处：《山西大同大学学报（社会科学版）》2014年第1期68-72,共5页Journal of Shanxi Datong University(Social Science Edition)

基　　金：泉州市哲学社会科学研究2013年规划项目(2013H35)

摘　　要：审丑是对审美的解构,是后现代主义的一个重要概念。作为首位荣获诺贝尔文学奖的美国非裔女作家,托妮·莫瑞森可以称得上是后现代主义时期的"丑"艺术家。她最早发表的两部作品——《最蓝的眼睛》(1969)和《秀拉》(1973),深刻地反映了美国黑人处在当时时代夹缝中的"丑态"。莫瑞森在这两部作品中通过对外表之丑、语言之丑、意象之丑和自然之丑的描写揭示人物的人性之丑和人生之丑,并最终把矛头指向历史之丑。审丑是一种艺术手段,其目的是在认识丑的基础上,呼吁人们去颠覆和解构"丑"的社会秩序和伦理价值,重建新的社会秩序和伦理价值。As a significant concept in postmodernism, the appreciation of ugliness is a kind of deconstruction of aesthetics. As the Nobel Prize Winner, Afro-American female writer Toni Morrison deserves to be called an artist of “ugliness” in postmodernism. Her earliest works The Bluest Eye and Sula vividly disclose all kinds of “ugliness” of the people at that time. In these two works, Morrison exposes the ugliness of people＆#39;s character and life through a depiction of the ugliness of appearance, the ugliness of words, the ugliness of images and the ugliness of nature, revealing the ugliness of history. As a kind of artistic means, the appreciation of ugliness aims to call on people to deconstruct the ugly social systems and ethic values on the basis of understanding “ugliness”, as well as to reconstruct new social systems and ethic values.

关 键 词：莫瑞森 《最蓝的眼睛》 《秀拉》 审丑 

分 类 号：I106.4[文学—世界文学]