《最后一个莫西干人》中如画的印第安人,装裱的荒野  

The Picturesque Indian and the Framed Wilderness in The Last of Mohicans

作　　者：胡俊[1] HU Jun

机构地区：[1]北京语言大学英语学院,北京100083

出　　处：《解放军外国语学院学报》2023年第5期30-37,160,共9页Journal of PLA University of Foreign Languages

基　　金：北京语言大学梧桐创新平台项目“跨国视野下国别文学、文化研究”(21PT05);中央高校基本科研业务专项资金项目(21YJ020012)。

摘　　要：19世纪美国作家库柏的代表作《最后一个莫西干人》将如画美学、荒野以及印第安人相挂钩,他的“如画观看之眼”不仅仅看到了美国的独特风景——荒野,还捕捉到了如画的人物——荒野中的印第安人,他们的“野性”被认为强化了荒野之野,他们那不可阻挡的消逝更是增强了画面的感染力。库柏的“如画观看之眼”因为受到了民族主义和种族主义的影响,所以最终呈现的荒野是装裱过的荒野,这样的荒野必须要被文明收编,而印第安人也只能在画作中作为客体存在,却不能作为主体在文明社会中出现。James Fenimore Cooper,the 19th century American writer,in his representative work The Last of Mohicansconnects the Picturesque to the wilderness and also the American Indian. With his picturesque eye,Cooper not onlyobserves the unique landscape of the United States—the wilderness,but also the picturesque character—the AmericanIndian in the wilderness,whose“savageousness”was regarded to add to the roughness of the wilderness and whosedoomedness to strengthen the appeal of the picture. However,with his picturesque eye affected by nationalism andracism,Cooper depicts ultimately only the framed wilderness,the wilderness disciplined by civilization;and theAmerican Indian represented by him is only allowed to appear within the frame as the Object,never expected to bethe Subject in a civilized society.

关 键 词：库柏 最后一个莫西干人 如画 荒野 印第安人 

分 类 号：I712.074[文学—其他各国文学]