危机·偏离·幻觉——杰斯敏·沃德小说中的汽车异托邦书写  

Crisis, Deviation and Illusion: Automobiles as Heterotopias in Jesmyn Ward’s “Bois Sauvage” Series

作　　者：黄漪澜 林元富[1] Huang Yilan;Lin Yuanfu(College of Foreign Languages,Fujian Normal University,Fuzhou,China,350007)

机构地区：[1]福建师范大学外国语学院

出　　处：《当代外国文学》2022年第2期12-18,共7页Contemporary Foreign Literature

基　　金：教育部人文社科研究项目“当代美国亚裔都市叙事中的‘漫游者’空间政治研究”(19YJC752029)阶段性成果。

摘　　要：杰斯敏·沃德是当代美国文坛展露锋芒的新秀,其代表作“荒木镇”系列小说刻画了美国南方的风土人情,折射出种族间的不平等关系,揭示了当代黑人的生存困境。在这些作品中,汽车及其相关场景不断复现,形成了独特的异质空间,表征了形形色色的福柯式异托邦:呈现当代性属危机异托邦、区隔无业人员的偏离异托邦以及提供短暂逃离的幻觉异托邦。如果说异托邦是一种激发越界思考的空间,那么沃德对于汽车这一“他者”场所的书写,无疑是以一种隐在的方式引导读者审视、反思当下美国社会关系和种族问题。In her “Bois Sauvage” series, Jesmyn Ward, one of the most promising contemporary African American novelists, provides a penetrating representation of the racial inequality and the predicaments of African Americans in the contemporary American South. Notably, recurrent images of automobiles play a significant role in her novels, representing three types of Foucauldian heterotopias: the heterotopia of crisis revealing contemporary sexuality, the heterotopia of deviation partitioning idle labor, and finally, the heterotopia of illusion offering temporary refuges for the other from the ordered world. Arguably, if heterotopias are spaces that invite the transgressive thinking of normal spaces, Ward’s attention to automobiles as heterotopias evidently asks for a rethink of contemporary American social relations and racial issues.

关 键 词：杰斯敏·沃德 “荒木镇”系列 汽车 异托邦 

分 类 号：I712.074[文学—其他各国文学]