神话体系观照下的镜像书写——论阿米里·巴拉卡剧作《荷兰人》中的政治想象  

A Mirror Writing in Mythological Systems: On the Political Imagination in Amiri Baraka’s Dutchman

作　　者：张新颖[1] Zhang Xinying(School of Foreign Languages,Hangzhou Dianzi University,Hangzhou,China,3111018)

机构地区：[1]杭州电子科技大学外国语学院

出　　处：《当代外国文学》2021年第3期37-44,共8页Contemporary Foreign Literature

基　　金：教育部人文社会科学研究项目“当代美国黑人戏剧的政治书写”(15YJA752023)的阶段性研究成果。

摘　　要：阿米里·巴拉卡的代表作《荷兰人》是一则神话体系观照下的镜像书写。剧中,巴拉卡将自我分裂为黑人中产阶级男子克莱和社会底层白人女子卢拉,使其以美国社会边缘人的共性建构了精神对位的理想镜像,目的是在艺术创作中对自我欲望进行审视。同时,巴拉卡还通过互文指涉和戏仿,将基督教、希腊与非洲三大神话体系置于现代政治语境中,建构了一个稳定的集体潜意识中心。通过神话体系观照下的镜像书写,巴拉卡以自我欲望为起点展开他的政治想象,为所有身处生存困境的现代人提出了获得整体性救赎的政治思路,对实现人类命运共同体具有启示性的意义。Dutchman,widely considered by many critics to be Amiri Baraka’s masterpiece,features mirror writing in mythological systems.In the play,Baraka projects himself onto Clay,a middle-class black man,and Lula,a white woman from a lower stratum of her class,and makes them construct an idealistic mirror of a spiritual counterpoint based on their shared marginal identity in American society,aiming to examine his desire in artistic creation.Meanwhile,he places the three mythological systems of Christianity,Greece and Africa in the context of modern politics and constructs a stable center of collective unconsciousness with intertextual references and parody.By virtue of the mirror writing in mythological systems,Baraka starts from self-desire and develops his political imagination,putting forward the political thinking of achieving a holistic salvation for all humanities in their existential plight,which is of enlightening significance to the realization of a community with shared future for mankind.

关 键 词：阿米里·巴拉卡 《荷兰人》 神话 镜像 政治想象 

分 类 号：I712.073[文学—其他各国文学]