表演叙事的形式内涵与文化目标——恩古吉《十字架上的魔鬼》对口头传统的运用  

Form Connotation and Cultural Objective of Performance Narratives Application of Oral Literary Tradition to Ngugi wa Thiong’o’s ‘Devil on the Cross’

作　　者：尹红茹[1,2] YIN Hong-ru(School of Chinese Language and Literature,Henan University,Kaifeng 475001,Henan,China;College of Literalure and Law,Nanyang Institule of Technology,Nanyang 473000,Henan,China)

机构地区：[1]河南大学文学院,河南开封475001 [2]南阳理工学院文法学院,河南南阳473000

出　　处：《河南大学学报（社会科学版）》2020年第5期121-126,共6页Journal of Henan University(Social Sciences）

摘　　要：恩古吉作为当代非洲最重要的作家之一,他的文学创作始终立足于非洲后殖民时代,不断思考肯尼亚独立后所面临的文化重构问题。在小说《十字架上的魔鬼》中,他将吉库尤民族的民间表演艺术"吉坎迪"植入书面文学文本,不仅借用了民间口头表演艺术的框架结构,完成了西方文学形式与传统艺术的完美融合,而且把被遮蔽和扭曲的历史编入集体记忆,赋予他的作品以"新生性"的创新意义,以此实现新历史的塑造和民族文化的重构。对小说文本中特有的框架形式及其标定要素的分析和追踪,有助于探究作家创作背后隐含的反殖民化的政治思想策略,以及传承和弘扬非洲民族特色、重建非洲文学与历史的文化目标的努力。As one of the most important writers in contemporary Africa, Ngugi’s literary creation has always been based on the post-colonial era of Africa, and constantly thinking about the problem of cultural reconstruction faced by Kenya after independence. In his novel, Devil on the Cross, he incorporates the folk art of the Kikuyu people, the performance of Gikandi, into the written text. While borrowing the framework of this performing art, he merges Western form of literature and the traditional art together, and weaves the obscure and distorted history into the collective memory so as to endow his novel a certain sense of "renewal" and accomplish the representation of history and the reconstruction of national culture. That to analyze and trace the peculiar frame and keys of the text will contribute to the probe of the anti-colonization’s Political and ideological strategies behind the writer’s creation, and the efforts of National characteristics inheritance and development and the reconstruction of African’s literary and historical aims.

关 键 词：恩古吉 表演叙事 框架结构 文化重构 

分 类 号：I106.4[文学—世界文学]