“家”在边缘:《曼哈顿之乐》中美国南亚裔女性生存空间建构  

Home in the margin:The reconstruction of South Asian American female living space in Manhattan Music

作　　者：王斐 林元富[2] Wang Fei;Lin Yuanfu

机构地区：[1]集美大学外国语学院英语系 [2]福建师范大学外语学院英语系

出　　处：《西安外国语大学学报》2023年第2期114-118,共5页Journal of Xi’an International Studies University

基　　金：教育部人文社科研究青年项目“当代美国亚裔都市叙事中的‘漫游者’空间政治研究”(项目编号:19YJC752029);国家社科基金“当代美国非裔小说‘后黑人性’文学再现发展脉络研究”(项目编号:22BWW069);国家社科基金“英国新历史小说的历史叙事研究”(项目编号:21BWW016)的阶段性研究成果。

摘　　要：父权制度建构了以男性主导的公共空间和以女性被区隔的私人空间的二元对立,迫使女性成为公共空间的缺席者和家庭空间中的边缘他者。少数族裔女性更是圈囿于白人菲勒斯所建构的阴性空间中而丧失主体性。作为一部具有女性空间政治意义的小说,美国南亚裔女作家亚历山大的《曼哈顿之乐》再现了南亚裔女性遭遇种族/父权宰制的空间非正义,更彰显了她们如何运用胡克丝倡导的“选择边缘作为激进开放的空间”,以及德·塞托所定义的“日常生活实践”如行走、烹饪、集体劳作和节庆活动去抵抗父权/种族操控下的空间非正义,重建地处“边缘”的家之意涵,将其开辟为弥合创伤、凝聚族群认同和建构女性主体的生存空间。The patriarchy constructs the binary opposition between the public space dominated by males and the private space segregating females,which renders the latter the absentees of the public space and the marginalized others of the domestic space.In particular,the ethnic women lose their subjectivity in the feminine space constructed by white phallocentrism.As a manifestation of the female spatial politics,Meena Alexander’s Manhattan Music represents the race/patriarchy-dominated spatial injustice imposed on the South Asian women;it also foregrounds how they employ bell hooks’“choosing the margin as a space of radical openness”as well as De Certau’s“the practice of everyday life”such as walking,cooking,joint domestic labors and festivals in their efforts to resist the spatial injustice,thereby re-coding the meaning of the“home”in the margin,and opening up the female living space as one that heals the trauma,unites the ethnic identity and constructs a new female subjectivity.

关 键 词：《曼哈顿之乐》 家庭空间 边缘 日常生活实践 生存空间 

分 类 号：I712.[文学—其他各国文学]