“纯真”物语:帕慕克《纯真博物馆》的博物馆叙事  

Approaching Museum Narrative in Orhan Pamuk's The Museum of Innocence

作　　者：郭晓睿 许诗焱[1] Guo Xiaorui;Xu Shiyan(School of Foreign Languages and Cultures,Nanjing Normal University,Nanjing,China,210024)

机构地区：[1]南京师范大学外国语学院

出　　处：《当代外国文学》2023年第4期95-102,共8页Contemporary Foreign Literature

摘　　要：帕慕克荣膺诺奖后的首部小说《纯真博物馆》和真实的博物馆建筑相互独立又处处契合,形成双向互构。小说人物的私人收藏肯定了物的唤起功能和物质力,博物馆式的公开收藏避免了物人关系的过度消解。虚构之物与真实展品一起,成为阶级差异、消费观念及传统与现代思想抵牾的文化表征,表达了社会转型期土耳其的民族性和身份焦虑。展览故事的叙事形式和展出馆藏的建筑实践撤出作家意识对物的介入,呼唤物性回归。小说也在叙事方式上反哺了博物馆建设,小说般的小博物馆范式颠覆了民族史诗叙事,传达了帕慕克对人性深度和历史真实的思考。The Museum of Innocence was the first novel written by Orhan Pamuk after he won the Nobel Prize.The novel and the brick-and-mortar museum are both independent of each other and interconnected.The character's private collecting affrms the evocative function and agency of things,while the museum-style public collecting avoids the excessive decentering of the human-thing relationship.Together with the real exhibits,the fictional things become cultural representations of class differences,notions of consumption,and conflicts between traditional and modern thoughts,expressing Turkish nationality and identity anxieties in a period of social transition.The narrative form of stories about exhibits and architectural practice withdraw things from the writer's intervening consciousness,calling for the return of thingness.The novel in turn guides the construction of the museum in a narrative way.The novelistic paradigm of the small museum subverts the epic narrative of nationalism and conveys Pamuk's reflections on the depth of humanity and on historical truth.

关 键 词：帕慕克 《纯真博物馆》 物叙事 博物馆 民族性 

分 类 号：I374.074[文学—其他各国文学]