危险的愉悦:《魔轮》及其重写  

Dangerous Pleasures: The Magic Wheels and Its Rewriting

作　　者：汪鑫 WANG Xin(School of International Studies,Hangzhou Normal University,Hangzhou Zhejiang,311121,China)

机构地区：[1]杭州师范大学外国语学院,浙江杭州311121

出　　处：《文化创新比较研究》2023年第28期6-10,共5页Comparative Study of Cultural Innovation

摘　　要：在木心丰富的创作中,最富个性且最具争议的是他的“重写”文本。对此,不同学者提出了“文本再生”或“修缮”等术语进行界定,但这些界定仍有语义未尽之处,尤其在考察木心的“重写”文本时未能将其与社会文化等因素联系在一起。因此,该文基于木心“海外华人”与“艺术家”的身份,联系其生平纪事,对他重写自色诺芬《回忆苏格拉底》的作品《魔轮》进行文本细读与距离阅读。这不仅意在分析木心在原文本形式与内容上的继承与扩充,还意在将《魔轮》看作现代艺术博物馆中的一件展品,使《魔轮》在“危险”中享有“合法”地位,并据此透析木心重写的意义。In Mu Xin's writing,the most contentious yet personalized part is the"rewrite".In this regard,different scholars have proposed terms such as"textual rebirth"or"repair writing"to define it,but these definitions are still semantically incomplete,especially when examining the"rewrite"of Mu Xin's texts,they fail to connect them with social and cultural factors.However,based on his identity as an oversea-Chinese and an artist,the article will discuss The Magic Wheels rewritten from Xenophon's Memorabilia,drawing on close reading and distant reading in connection with his biography.It will intend to discuss the development of the form and context in Mu Xin's rewrites and consider The Magic Wheels as an exhibition in modern art museum,which helps The Magic Wheels have a"legal status"in"danger"and clarifies the meaning of his rewrites.

关 键 词：木心 《魔轮》 重写 反经典 色诺芬 当代艺术 

分 类 号：I712.072[文学—其他各国文学]