经典殖民叙事的时空重构——《鲁滨逊漂流记》与《福》对读札记  

Time-Spatial Reconstruction of Classical Colonial Narrative: Robinson Crusoe and Foe

作　　者：岳峰[1] 孔建平[1] 

机构地区：[1]盐城师范学院文学院

出　　处：《中国比较文学》2018年第1期185-196,共12页Comparative Literature in China

基　　金：国家社科基金项目"法国经典小说中现代性时间图式的嬗变"(编号13BWW057)的阶段性成果;江苏高校哲学社会科学优秀创新团队建设项目资助

摘　　要：J.M.库切在《福》中,翻转了经典殖民文本《鲁滨逊漂流记》将世界划分为先进与落后、主体与客体构成的二度时空体的时空叙事,帝国男性主体的乐观主义独白也被转换为女性主体的对话和质疑。女性主人公苏珊·巴顿笔下的克鲁索是一个苟且偷生的懒汉,既不具备现代时间意识,也不再作为一个启蒙主体给荒岛带来"进步"和"教化",男性主体的线性时间叙事结构亦被颠覆。作者进而借鉴女性主义话语,将叙事空间聚焦于屋檐下和床笫之间,让女性声音和身体转向话语编码系统、隐喻话语权力的让渡。黑人星期五非逻辑的、非线性时间的身体表达与殖民话语编码机制不相兼容,其意义在帝国话语时空体中无法呈现。多元的时空叙事才是接近历史全貌及真相的唯一可能。J. M. Coetzee＇s Foe, subverts the classical two-dimensional time-spatial structure in Robinson Crusoe, which divides the world into the advanced and the backward, the subject and the object. The optimistic monologue of an imperial male also makes way for the dialogue and doubt of a female subject. Crusoe, in the eye of the female protagonist, Susan Barton, is a lazy man, who has no modem consciousness of time. Fur- thermore, he is no longer a subject of enlightenment, who brought ＂progress＂ and ＂civili- zation＂ to the island. The linear narrative structure is overturned. Coetzee draws on feminist discourse, focuses his spatial narration on the house and the bed, and invites a female voice and body into the discourse coding system, which implies the transfer of discourse power. The non-logical, nonlinear body expression of the black, Friday, is incompatible with the coding mechanism of the colonial discourse, which is unable to find its meaning in time-spatial structure in imperial discourse.

关 键 词：《鲁滨逊漂流记》 《福》 时空体 殖民叙事 

分 类 号：I478.074[文学—其他各国文学] I561.074