论《蝴蝶君》中的非自然叙事策略  

On the Unnatural Narrative Strategies in M.Butterfly

作　　者：李云博 葛丽萍[2] LI Yunbo;GE Liping(Guangdong University of Foreign Studies,Guangzhou 510420,China;Henan University of Technology,Zhengzhou 450001,China)

机构地区：[1]广东外语外贸大学,广东广州510420 [2]河南工业大学,河南郑州450001

出　　处：《郑州航空工业管理学院学报（社会科学版）》2024年第1期88-93,共6页Journal of Zhengzhou University of Aeronautics(Social Science Edition)

摘　　要：《蝴蝶君》是美籍华裔剧作家黄哲伦的代表作,剧中不可能的事件、渗透型叙述者、倒退的时间线及流动的戏剧空间等非自然叙事策略直指作品自身的“虚构性”和角色的“操演性”。文章基于非自然叙事理论,分别从故事事件、叙述者、时间和戏剧空间四个参数来深刻剖析这部作品的非自然性,从而指出黄哲伦通过运用该叙事策略构建了一个不可能的世界,交错层叠的叙事安排凸显并强调人物的建构性及流动性,进一步挑战了人们对身份和时空的固有认知,彰显了作家超越本质主义的多元身份诉求。M.Butterfly is the representative work of Asian American dramatist David Henry Hwang and several unnatural narrative strategies such as impossible event,permeable narrator,retrogressive time line and flexible theatre space point directly to the fictionality of the work and performativity of characters.Based on unnatural narrative theory,this paper aims to explore the play's unnaturalness from four unnatural parameters:story,narrator,time and theatre space.It is pointed out that Hwang constructs an impossible world by maneuvering interlaced and layered unnatural narrative strategies.This paper further reveals that the author foregrounds the constructiveness and fluidity of characters and flouts people's fixed cognition and knowledge about identity,time and space,thus demonstrating the appeal for identity diversity beyond essentialism.

关 键 词：《蝴蝶君》 非自然叙事 身份 

分 类 号：I712[文学—其他各国文学]