安妮·普鲁《半剥皮的阉牛》的归家、怀旧与逃避  

Home-Returning, Nostalgia and Escapism inThe Half-Skinned SteerbyAnnie Proulx’s

作　　者：汤纵 TANG Zong(Research Institute of Foreign Literature,Beijing Foreign Studies University,Beijing 100089,China)

机构地区：[1]北京外国语大学外国文学研究所,北京100089

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2022年第8期128-131,135,共5页Journal of Qiqihar University(Philosophy & Social Science Edition)

摘　　要：《半剥皮的阉牛》文本内部明显存在两种互相抵牾的叙事力量:归家、怀旧叙事的复归性与逃避驱动。在这两种力量的抗衡中,梅罗体验到了暗恐心理,产生非家幻觉。遮蔽压抑在他内心深处的恐惧在阉牛形象上达到高潮。阉牛是幽灵般的存在,背负着过往不断复现叨扰生者。它既来自过去,昭示着梅罗年少时期的阉割情结与恋地情结;又面向未来,指引他学会生活。只有认识、接纳并学会和幽灵一起生活,才能在碎片化的时空中觅得安身之处,开启可期待的明天。There are obviously two kinds of narrative forces antagonizing each other in The Half-Skinned Steer: the resetting nature of home-returning narrative and nostalgic narrative versus escapism. Through their antagonism, the protagonist Mero experiences the uncanny presence and unhomeliness. The old fears shrouded inside him reach a crescendo when the steer image reappears. As a specter-like image, it returns unremittingly annoying the living people with the burden from the past. Deriving from the bygone days, it exposes the castration complex and topophilia of young Mero;While indicating the future, it would simultaneously guide him to learn to live. Mero has no option but to recognize, accept and learn to live with specters in order to find home in a fragmented temporal and spatial context approaching tomorrow.

关 键 词：安妮·普鲁 《半剥皮的阉牛》 暗恐 幽灵 逃避 

分 类 号：I106.4[文学—世界文学]