从厨房说起:《婚礼的成员》中的空间转换  

Starting with the Kitchen:On the Spatial Changes in The Member of the Wedding

作　　者：田颖[1] 

机构地区：[1]杭州师范大学外国语学院

出　　处：《国外文学》2018年第1期133-141,共9页Foreign Literatures

基　　金：杭州市哲学社会科学规划课题"卡森.麦卡勒斯小说的空间叙事研究"(项目编号:Z17JC036);杭州师范大学科研启动经费项目"卡森.麦卡勒斯的文学身份研究"的阶段性成果

摘　　要：卡森·麦卡勒斯的第三部小说《婚礼的成员》被称为"内向性小说",贯穿作品始终的"厨房场景"似是"有力"佐证,而"蓝月亮"咖啡馆因游离于"厨房场景"之外和涉及敏感的"性"话题,被当作"败笔"。然而,从空间叙事焦点的转移来看,麦卡勒斯首先从厨房说起,继而聚焦于厨房之外的"蓝月亮"咖啡馆,最后重归厨房。在由内及外,再由外向内的空间转换中,厨房与"蓝月亮"这两个原本独立的场所形成了一个有机的空间整体,打破了文本的封闭性。由此,这部小说将私密与公众、个人体验与公共事件结合起来。Carson Mc Cullers' s third novel The Member of the Wedding has been regarded as "an inward novel",which has been demonstrated by its focus on the kitchen scene and its "flawed"depiction of the Blue Moon Café. With the shifting focus of the spatial narrative,the claims mentioned above have been challenged. In this novel,Mc Cullers starts her narration with the kitchen scene,and then highlights the Blue Moon Café,but returns to the focused description of the kitchen. The kitchen is not a confined place,nor is the enclosure of the Blue Moon Café a failure. The former offers an unusual perspective on the growth of the young protagonist,while the latter exposes the initiation of an adolescent into the real world during World War II. The kitchen and the Blue Moon Café,therefore,are integrated into an organic unity,which incarnates "the worldliness"and breaks through the textual enclosure.

关 键 词：《婚礼的成员》 厨房 “蓝月亮” 空间 

分 类 号：I712.074[文学—其他各国文学]