汤亭亭的图像叙事与空间意识的转变  

Maxine Hong Kingston’s Pictorial Narration and Transformation of Spatial Consciousness

作　　者：董晓烨[1] Dong Xiaoye

机构地区：[1]东北林业大学外国语学院

出　　处：《华文文学》2021年第6期5-13,共9页Literatures in Chinese

基　　金：中央高校基本科研业务费专项资金项目“西方文学伦理理论与实践研究”,项目编号:2572021DF11。

摘　　要：作为华裔美国文学的标志性人物,汤亭亭的创作体现了当代华裔美国文学的走向。她早期的小说《中国佬》和后期的诗集《我爱我生活的广阔空间》都呈现出鲜明的图像叙事特征和突出的空间意识。文本中既有直接展示的印章、绘画和书法图像,又有借助空间并置、迁移和转换绘制的物理和心理图式。无论是本质主义式的,还是隐喻式的图像叙事都在扩大文本空间的同时,增强了文本的隐喻意义。从图像叙事和空间意识两个角度入手,对上述两部作品的图像叙事进行并置研究,观照图像叙事和空间意识的密切关系,就会发现汤亭亭的创作意图发生了变化,由此思考华裔美国文学创作的当下性,以及华裔美国作家从主张“宣称拥有美国”到跨民族和文化的飞散思想的转变。As an iconic figure of Chinese American literature,Maxine Hong Kingston’s literary creation is a reflection of contemporary Chinese American literary trends.Her early work,China Men,and her collection of poetry,I Love a Broad Margin to My Life,reveal vivid features of pictorial narration and an outstanding spatial consciousness as her texts not only have directly exhibited images of stamps,paintings and calligraphy but they also use physical and psychological patterns as portrayed with the juxtaposition of spaces,transmigration and transfer.These pictorial narratives,whether essential or metaphoric,enhance the metaphoric significance of the texts while expanding the textual space.When one cuts in via the angles of pictorial narration and spatial consciousness by taking a juxtapositional account of the pictorial narration in the two works mentioned above and viewing the close relationship between the pictorial narration and spatial consciousness,one finds that something happens in Kingston’s concept of creation as one is reminded of the contemporaneity of Chinese American literature and of the transition from the preposition made by Chinese American writers about their’claim to own America’to the thought of transnational and cross-cultural dispersal.

关 键 词：汤亭亭 《中国佬》 《我爱我生活的广阔空间》 图像叙事 空间意识 

分 类 号：I206.7[文学—中国文学]