“文明”与“野蛮”的对话——比较《中国万里长城》和《女勇士》的对话模式  

Dialogue Between "Civilization" and "Barbarism" in "The Great Wall of China" and "The Woman Warrior"

作　　者：程梅[1] 李静[1] 

机构地区：[1]南开大学

出　　处：《语言教育》2015年第4期8-13,共6页Language Education

基　　金：教育部留学回国人员科研启动基金资助项目"西方文学中的‘野蛮'叙事"(项目编号:教外司留[2013]693);南开大学基本科研业务费专项资金项目"大学英语教学中的中国文化教育对克服‘文化失语现象'的作用"(项目编号:NKZXC1201)的阶段性研究成果

摘　　要：卡夫卡的《中国万里长城》和汤亭亭的《女勇士》都使用了种种"野蛮"叙事,如松散的结构、前后矛盾的结论、错误的历史事实、虚构的真相等。在当今政治经济秩片下,这些"野蛮"因素的某些负面内涵却产生了积极意义,为实现西方与非西方、"文明"与"野蛮"的对话提供了可能。两部作品表现出两种不同的对话形式:卡夫卡的分段修建的长城为野蛮因素侵入文明体系留下了通道,汤亭亭借助中国历史诗歌《胡茄十八拍》表现了"文明"与"野蛮"相互转化、相互依存的关系。Franz Kafka＇s ＂The Great Wall of China＂ and Maxine Hong Kingston＇ ＂The Woman Warrior＂ both narrate incoherent stories of loose connections,contradictory conclusions,untruthful historical facts,and fictional truths.Under present political and economic order of ＂civilization-barbarism＂,these ＂barbaric＂ elements are creative and positive in some cases,thus provide possibilities for the dialogue between the west and non-west,civilization and barbarism.The two stories present two different modes of dialogue.Kafka＇s piecemeal construction of the Great Wall leaves gaps,fissures,and openings for barbarism.Kingston points out to the translation between ＂civilization＂ and ＂barbarism＂ by using Chinese historical song ＂Eighteen Stanzas for a Barbarian Reed Pipe＂.

关 键 词：文明 野蛮 对话 卡夫卡 汤亭亭 

分 类 号：I06[文学—文学理论]