跨国阈限空间--论《梦回古巴》中的“革命”与“流亡”书写  

Transnational Liminal Space: On the Writing of Revolution and Exile in Dreaming in Cuban

作　　者：陈天然[1] Chen Tianran(School of English Studies,Huaqiao University,Quanzhou,China(362000))

机构地区：[1]华侨大学外语学院

出　　处：《当代外国文学》2020年第2期39-47,共9页Contemporary Foreign Literature

基　　金：华侨大学中央高校基本科研业务费资助项目“跨国视域下当代美国加勒比裔小说中的历史书写研究”(18SKGC—QG01);福建省社会科学规划项目“当代美国加勒比裔小说中的跨国叙事研究”(FJ2019B061)的阶段性成果。

摘　　要：以阈限场域为切入点审视文本中处于中间状态的人物及其情节与环境的过渡性转换具有文化意味和审美价值。在《梦回古巴》中,加西亚聚焦于"革命"与"流亡",于四个层级上塑造了隐式和显式两种阈限空间,在跨国语境中将阈限动态刻入对异向政治文化领域的僭越,进而将分歧性的规范系统和代码凝聚在一起。通过再现一个交织着三代女性角色内外记忆的阈限空间,加西亚理解、过滤并重绘了一幅古巴历史的卷帙,寻求以新的话语权和可能的中间身份来弥合古巴与其流亡者间的政治裂痕和文化分歧。The mapping of cultural and aesthetic liminal terrain offers a means for interpreting the characters’ frequent in-between conditions and abundant transitions in plot and setting. In Dreaming in Cuban, Cristina García presents liminal space both implicitly and explicitly on four levels by focusing on "revolution" and "exile", and thus transnationally inscribes the liminal dynamics into a transgression of different fields of political culture, and into a condensation of divergent normative systems and codes. Through the liminal space that intersects the internal and social memories of the three-generations of female characters, García sees, filters and remaps a picture of Cuban history, seeking to bridge political rifts and cultural divisions between Cuba and its exiles in a new discursive power and the possibility of identity in-between.

关 键 词：《梦回古巴》 跨国阈限空间 隐式 显式 

分 类 号：I712.074[文学—其他各国文学]