露易丝·格丽克图形-背景置换的神话改写策略  

Figure-Ground Displacement in Louise Glück′s Myth Rewriting

作　　者：陈小红[1] CHEN Xiaohong(School of Foreign Studies,Guangzhou University,Guangzhou,Guangdong 510006,China)

机构地区：[1]广州大学外国语学院,广东广州510006

出　　处：《广州大学学报（社会科学版）》2023年第4期185-192,共8页Journal of Guangzhou University:Social Science Edition

基　　金：广东省哲学社会科学规划项目外语学科专项(GD21WZX01-08)。

摘　　要：神话创造性现代改写是露易丝·格丽克诗歌创作的显著特点。格丽克在诗歌中巧妙利用图形-背景置换的改写策略,从生存阈限、女性意识和神话日常化三个维度将远古神话与现代生活镶嵌。诗集《阿弗尔诺》里的冥后珀尔塞福涅在冥界与大地间漂泊的生存阈限被凸显,折射出全球化语境下的现代人之漂泊感;诗集《草场》则前景化奥德修斯之妻珀涅罗珀的女性独立意识,构建了一个独立的现代女性形象;而日常生活图形化和元神话背景化的改写则赋予神话和日常生活陌生化的熟悉感。图形-背景的置换有助于经典再生成,呼应了经典创新的时代召唤。The creative modern rewriting of myth makes Louise Glück′s poetry stand out.And the technique of figure-ground displacement is approached from the three dimensions as existential liminality,feminine consciousness,and mythical everydayness.Persephone′s existential liminality wandering between the earth and hell in Averno is highlighted,which indicates the dilemma of people′s drifting in modern globalization context.The schematization of Penelope′s(Odyssey′s wife)female consciousness in Meadowlands fashions an awakening modern woman.This displacement of routine graphing and meta-mythical contextualization brings forth myth and routine defamiliarized familiarity as well as familiarized defamiliarization.It is concluded that figure-ground displacement enhances the re-generation of classics and echoes the call of classical innovation.

关 键 词：露易丝·格丽克 神话改写 《阿弗尔诺》 《草场》 图形-背景置换 

分 类 号：I712.072[文学—其他各国文学]