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作 者:沈慕蓉 詹春娟[1] SHEN Murong;ZHAN Chunjuan(School of Foreign Studies,Anhui University,Hefei 230601,China)
出 处:《合肥工业大学学报(社会科学版)》2022年第4期95-101,共7页Journal of Hefei University of Technology(Social Sciences)
基 金:教育部人文社会科学规划基金项目(18YJA752021)。
摘 要:文章指出《抱歉》有别于其他和解小说的犀利和尖锐,小说中的和解表达对应殖民者记忆的模糊地带,表现为一种“柔性话语”书写。小说中对创伤记忆的设定和描写,如代际创伤引发话语体系的偏移与立场抉择的困境,记忆断裂造成反话语趋势的挫败与自我身份的迷惘,以及记忆复原却仍屈服于殖民中心的妥协结局,均通过非激进的手段以及柔性中和的话语立场来完成。与此同时,小说的反殖民力量逐步由纠葛转向畏缩,终至妥协。这种“柔性话语”虽然在一定程度上对民族的和解具有进步意义,但也折射了白人作家在历史书写上含混纠葛的写作立场,以及中和殖民历史创伤的写作倾向。Different from the incisiveness of other reconciliation novels,the expression of reconciliation in Sorry corresponds to the fuzzy zone of colonists’memory,which is expressed as a kind of“flexible discourse”writing.The setting and description of traumatic memory in the novel,such as the deviation of discourse system and the plight of choosing position caused by intergenerational trauma,the frustration of counter-discourse and the loss of self-identity caused by memory fracture,and the outcome of succumbing to colonialism after memory recovery,are all completed by non-radical means and flexible and neutral discourse stance.At the same time,the anti-colonial power in the novel gradually wavered,weakened and finally compromised.Although this“flexible discourse”have a progressive significance on national reconciliation to a certain extent,it also reflects the ambiguous and uncertain writing stand of white writers in historical writing and the writing tendency to neutralize the colonial trauma.
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