《混血布鲁斯》:“种族正统政治”批判与“中间通道”范式超越  

The Reconsideration of“The Politics of Racial Authenticity”and“The Middle Passage”Paradigm in Half-Blood Blues

作　　者：綦亮[1] Qi Liang(School of Foreign Languages and Culture,Suzhou University of Science and Technology)

机构地区：[1]苏州科技大学外国语学院,江苏苏州215009

出　　处：《外国文学》2021年第1期145-154,共10页Foreign Literature

基　　金：国家社科基金一般项目“加拿大黑人英语小说研究”(16BWW081);高校哲学社会科学研究重大项目“当代非裔美国历史小说研究”(2020SJZDA023)。

摘　　要：埃西·埃多彦的《混血布鲁斯》是加拿大黑人文学的代表作之一,它的主要特点在于既承接同时又背离黑人文学创作和批评经典范式。一方面,小说把黑人音乐元素融入文本肌理,向黑人文学经典叙事传统致敬,不仅在形式上具有突出的音乐性,更借助音乐探究身份认同,反思对种族身份的本质主义理解,呼应了吉尔罗伊在《黑色大西洋》中对"种族正统政治"的质疑。另一方面,该作跳出强调蓄奴制历史记忆的"中间通道"范式,开辟了二战/战后时间线,聚焦"莱茵兰杂种"这一特殊历史时期的特殊黑人群体,揭示出"黑人性"的复杂性,呈现了一个充满悖论和张力的异质欧洲空间,丰富了黑人文学的书写资源。这两方面相反相成,体现了《混血布鲁斯》对种族问题和黑人身份的多维思索。As one of the masterpieces of Black Canadian literature,Esi Edugyan’s Half-Blood Blues exhibits both a connection with and an opposition to the paradigmatic convention of Black Literature.On the one hand,it pays tribute to the narrative tradition of Black Literature by absorbing the elements of Black music,using them to reconsider the essentialist approach to racial identity,echoing with Gilroy’s critical examination of"the politics of racial authenticity"in The Black Atlantic.On the other,by highlighting the history of the black community during the Second World War,it deviates from"The Middle Passage"paradigm that underscores the historical memory of slavery.By doing so,it unearths a unique black community called"Rhineland Bastards",revealing the nuances of Blackness and a heterogenous European space.Half-Blood Blues’s seemingly contradictory treatment of the conventions of Black Literature manifests its non-essentialist interpretation of the black identity and racial issues.

关 键 词：埃多彦 《混血布鲁斯》 黑人音乐 “中间通道” 黑人性 

分 类 号：I711[文学—其他各国文学]