我乃声音之名,名之声音——新奴隶叙述《爵士乐》中的“声音”与非裔主体建构  

“I am the name of the sound/and the sound of the name”:On the Voice and Subjectivity Construction of the African Americans in the Neo-slave Narrative Jazz

作　　者：王斐[1,2] 

机构地区：[1]集美大学外国语学院,福建厦门361021 [2]福建师范大学外国语学院,福建福州350007

出　　处：《集美大学学报（哲学社会科学版）》2018年第1期76-81,共6页Journal of Jimei University：Philosophy and Social Sciences

基　　金：国家社科基金项目(13BWW063);福建省社科规划项目(FJ2015C181);福建省社科规划项目(FJ2017B068)

摘　　要：作为具有后现代特征的文本,美国非裔女作家莫里森的新奴隶叙述《爵士乐》是一本融汇了非洲口头习俗和音乐传统并戏仿奴隶叙述的"说话书",其爵士乐般的叙事手法逾越西方经典文学典律进而消解西方宏大叙事,使非裔离散主体的历史得以在爵士乐声中被重新书写,非裔的主体性得以在"声音"中辨识,解构了西方话语的逻各斯中心主义,开辟了非裔历史论述与重构非裔主体的新空间,这或许也是新奴隶叙述的目标所指。With the postmodern textual characteristics,the Neo-slave narrative Jazz,as the parody of the slave narrative,is the"talking book"with the fusion of the African oral and music tradition.The parody of Jazz narrative transgresses the western literature canon and decomposes the western Grand Narrative,which rewrites the black diasporas and recognizes the African Americans' subjectivity in the "sound"of Jazz/the narrating "voice"that deconstructs the western Logocentrism as well as explores new space for the African American historical discourse and the reconstruction of subjectivity,thereby fulfilling the objective of the Neo-slave narrative.

关 键 词：新奴隶叙述 《爵士乐》 戏仿 说话书 

分 类 号：I106.4[文学—世界文学]