非洲作家语言政治视域下“坦布三部曲”的叙事语言探析  

Analysis of the Narrative Language in “Tambu Trilogy”from the Perspective of African Writers’ Language Politics

作　　者：张燕[1] 杜志卿[1] ZHANG Yan;DU Zhiqing(School of Foreign Studies,Huaqiao University,Quanzhou 362021,China)

机构地区：[1]华侨大学外国语学院,福建泉州362021

出　　处：《浙江外国语学院学报》2023年第5期91-98,共8页Journal of Zhejiang International Studies University

基　　金：教育部人文社会科学研究规划基金项目“尼日利亚英语小说的互文性研究”(20YJA752019)。

摘　　要：津巴布韦著名女作家齐齐·丹格仁布格在其创作的“坦布三部曲”中将英语和绍纳语进行混用。作品中,她有意略去展示绍纳民间智慧的谚语,显示了她对绍纳传统文化的疏离。她还通过保留绍纳语的亲属称谓,贬斥了传统绍纳社会中男尊女卑的父权文化。此外,借由绍纳语在“三部曲”中出现频率各异的巧妙安排以及对绍纳文化在主人公生活中由在场到缺席的描写,丹氏再现了殖民主义以及新殖民主义对绍纳人尤其是绍纳知识分子的文化宰制。丹氏这种对本土父权文化和殖民主义双重拒绝的语言实践为新时代非洲文学的后殖民书写构建了一种新的范式。Tsitsi Dangarembga,one of the most distinguished female writers in Zimbabwe,hybridizes English and Shona in her“Tambu Trilogy”.In the trilogy,Dangarembga deliberately leaves out the Shona proverbs displaying the traditional wisdom of Shona,which implies her detachment from the traditional culture.She also intentionally adopts relatives’appellations of Shona,which signifies her sharp criticism of the dominant patriarchal culture in the traditional Shona society.In addition,by presenting the varied frequency of Shona words in the narration and the gradual deprivation of subjectivity of Shona culture in Tambu’s life,Dangarembga exposes the colonial and neo-colonial domination imposed upon Shonas,especially Shona intellectuals,via colonial education.The rejection of both Shona culture and colonialism in Dangarembga’s language practice renders this trilogy a new paradigm for African post-colonial writings in the new era.

关 键 词：齐齐·丹格仁布格 “坦布三部曲” 叙事语言 语言政治 

分 类 号：I475.074[文学—其他各国文学]