羊皮重写纸上的童话乌托邦——解读《摩尔人最后的叹息》  

A Utopian Fairytale on the Palimpsest—A Reading of The Moor's Last Sigh

作　　者：张晓红[1] 

机构地区：[1]深圳大学外国语学院

出　　处：《社会科学》2015年第2期174-182,共9页Journal of Social Sciences

基　　金：国家社科基金项目"拉什迪的童话诗学和文本政治研究"(项目编号:12BWW033)的阶段性成果

摘　　要：在"后追杀令"时代,拉什迪通过创作《摩尔人最后的叹息》(1995)重访"想象的家园"。向后回望的怀旧情结和向前预设的乌托邦冲动交织在一起,在拉氏童话书写中形成一对矛盾的统一体。童话的乌托邦效应在作者一主人公一读者这一完整文本链上运作。拉什迪借"外显作者"兼小说主人公莫里斯之口,以"形式化撒谎"的名义创造了集写作策略、文化策略和政治策略为一体的复合型文本策略,制造了童话性、互文性和政治性交融渗透、互相强化的文本效应。遗憾的是,虽裹着童话外衣,小说的政治表白和道德说教意味过于浓厚,情节构造和人物塑造方面存在明显缺陷,有刻意讨好穆斯林读者以求和解之嫌,缺乏拉氏早期作品审美留白和政治反讽的张力。In the post-fatwa era, Salman Rushdie has revisited his ＂imaginary homeland＂ through the writing of The Moor＇s Last Sigh. Retrospective nostalgia and anticipatory utopian impulses get entwined and form a unity of contradictions in a fairytale vein. Fairytale utopia operates through the textual chain constituted by author, protagonist and reader. Through the explicit author-cum-protagonist Moraes, Rushdie manages to integrate writing, cultural, and political strategies, thus intensifying textual effects of ＂fairytaleness＂, intertextuality and politicity. Regrettably, however, despite the coloring of its fairytale utopian narrative, The Moor＇s Last Sigh, with overtly politicized intentions and didactic messages, discloses obvious flaws in plotting and characterization. Devoid of the aesthetic gaps and the tension induced by political irony, it reads less challenging and delightful than those works produced before the fatwa.

关 键 词：拉什迪 “形式化撒谎” 羊皮重写纸 童话性 乌托邦 

分 类 号：I106.4[文学—世界文学]