游戏中的自我追寻与身份建构——任璧莲笔下的“身份表演”  

The Pursuit of the Self and Identity Construction by Role-play——Gish Jen's Identity Performance

作　　者：许双如[1] 

机构地区：[1]暨南大学外国语学院

出　　处：《华文文学》2016年第6期53-59,共7页Literatures in Chinese

基　　金：教育部人文社科基金项目"面具的政治:华裔美国文学‘身份表演’书写研究"(项目批准号:14YJA752017)

摘　　要：美国华裔作家任璧莲在其第二部小说《莫娜在应许之地》中,成功尝试了一种独特的文学表现形式,即通过人物表演性的角色和身份扮演,使主人公在成长过程中获得探索自我、定义自我的独特途径。以青少年自我成长的心理分析以及巴特勒身份操演理论观照此小说,可发现"身份表演"作为作品的表现形式很好地表达了作品的主题,传达了作者的文化思想。任璧莲在作品中不仅以流动性文化身份观作为其反本质主义文化思想的核心,更将文化身份建构作为主体发展和自我完善旅程中一个动态性文化过程进行深入的探索,从而超越了族裔身份范畴,上升到更具普遍意义的人的主体性关怀层面上。作家巧妙地将这一系列深入的文化思考,寓寄于身份表演这一指符上,使其展现出不容忽视的诗学意义。In her second novel Mona in the Promised Land, Chinese American writer Gish Jen made a successful attempt at employing a new form of narration, i.e., the protagonist, in the process of growing up, explores and finds a unique approach to define herself by role-playing and identity performance. From the perspective of psychoanalysis in adolescent self-devel- opment and by applying Butler＇ s theory on identity performance, the paper reveals that identity performance, used as a form of expression in this novel, not only well expresses the theme of the novel, but also effectively conveys the author＇ s cultural thinking. Gish Jen establishes fluidity of identity as the core concept of her anti-essentialist cultural thinking, and considers the construction of the cultural identity as a dynamic process of the development of subjectivity and the self. In this way, her writing goes beyond the limits of ethnic identity to the more universal concern of the subjectivity. By artistically weaving her in-depth cultural thinking in the characters＇ identity performance, Jen enriches its poetic significance.

关 键 词：任璧莲 身份表演 自我追寻 身份建构 

分 类 号：I106[文学—世界文学]