《哈莱姆二重奏》的“呼与和”布鲁斯叙事研究  

Research on Blues Narration of Call and Response in Harlem Duet

作　　者：陈琛[1] 陈红薇[2] 

机构地区：[1]北京科技大学外国语学院 [2]北京科技大学外国学院

出　　处：《外国文学研究》2016年第2期63-70,共8页Foreign Literature Studies

基　　金：国家社会科学基金项目"战后英国戏剧中的莎士比亚研究"【项目批号:10BWW025】;北京科技大学博士生科研基金项目"非裔加拿大女性剧作家丹尼尔.西尔丝的戏剧研究"【项目批号:06198095】的阶段性成果

摘　　要：《哈莱姆二重奏》是非裔加拿大女剧作家丹尼尔·西尔丝的经典代表作。在本剧中,作者巧妙地借用了布鲁斯音乐中"呼与和"的对比复调和模仿复调叙事技巧,将白人与黑人以及黑人内部复杂矛盾的种族关系和性别关系布局在该剧的叙事结构中。一方面探讨了黑人内部在种族、文化身份认同上的矛盾与困惑,传递了剧作家对黑人族裔前途命运的深沉之思;另一方面也拷问了当代社会黑人族裔遭受的种族及性别创伤,以独特的现实主义情怀解构了加拿大宣称的"多元文化"。通过"呼与和"演绎与变奏的叙事形式,西尔丝实现了从"黑人她者"的视角对莎士比亚《奥赛罗》的后殖民再写,开拓了基于非洲文化的创作模式,形成了独特的自我书写。Harlem Duet is a representative work by African Canadian female playwright Djanet Sears. In this drama, she delicately borrows the narrative skills of counterpoint and imitation polyphony from Blues to signify racial and sexual relationship between the black and white as well as the relationship among the black community. With this narrative strategy, she not only explores the contradiction and confusion of black people about their racial and cultural identity, conveying her deep thoughts on the destiny of black ethnic group, but also exposes their race and gender trauma in contemporary society deconstructing the alleged multicultural policy of Canadian government. And finally by interpretation and variation of call and response, Sears expands writing modes based on African culture, forming her unique self-writing by rewriting Shakespeare＇s Othello from the perspective of a female black woman.

关 键 词：丹尼尔·西尔丝 《哈莱姆二重奏》 布鲁斯 呼与和 后殖民再写 

分 类 号：I712.073[文学—其他各国文学]