中美“移民线”地理景观书写——从《啊,拓荒者!》到《孔雀的叫喊》  

Chinese and American Migration Line in Geographic Landscape Writings from O Pioneers!to Peacock Cries at the Three Gorges

作　　者：徐超超 张海榕[2] XU Chaochao;ZHANG Hairong

机构地区：[1]南开大学外国语学院 [2]河海大学外国语学院

出　　处：《广东外语外贸大学学报》2024年第1期84-94,共11页Journal of Guangdong University of Foreign Studies

基　　金：国家社会科学基金项目“美国都市文学景观书写研究”(21BWW010);中央高校业务费(河海大学)“美国都市文学中的非洲景观书写研究”(B230207030);河海大学西非经济共同体研究中心资助。

摘　　要：薇拉·凯瑟的《啊,拓荒者!》(1913)与虹影的《孔雀的叫喊》(2003)都将小说创作视角聚焦于移民群体,她们借助富含审美情感的地域景观话语,共同书写了中美迥异性的“移民线”地理景观,它们既是中美文化景观的客观载体,也影射可视的家国传统和民族精神。本文运用罗伯特·塔利的“处所意识”,分析了上述作品里中美移民人地关系的演化历程,认为无论是前者美国“迁入型”内布拉斯加州移民“分界线”,抑或中国“迁出型”三峡库区移民“水位线”,她们都运用非自然叙事手法完成了生命共同体意识的构建,表明了移民线地理景观与国家政策间的一致性,尤其是虹影在中国传统人地关系的思考上注入中国式现代化元素,使她的移民书写成为具有科技忧思的后现代移民叙事佳作。Willa Cather’s Oh,Pioneer!and Hong Ying’s Peacock Cries at the Three Gorges both focus on the migration groups.By means of regional landscape narrative rich in aesthetic emotions,they jointly create differentiated migration lines in the novels,which not only serve as objective carriers of culture between China and America,but also imply the visible national tradition and spirit.This article uses Robert T.Tally Jr.’s topophrenia to analyze the evolution of the mankind-earth relationship in mentioned works.Whether it is the former American immigration“divide line”in Nebraska or Chinese emigration“water line”in the Three Gorges Reservoir,the authors complete the construction of the consciousness of a shared future for all life aided by unnatural narrative,which indicates the consistency between migration lines and national policies.Especially,Hong Ying has also injected elements of the Chinese modernization into the thinking of traditional Chinese mankind-earth relationship,making her novel a masterpiece of postmodern migration narrative with technological concerns.

关 键 词：移民景观 《啊 拓荒者!》 《孔雀的叫喊》 处所意识 

分 类 号：I106.4[文学—世界文学]