论维兹诺小说《蓝鸦》中土著艺术的美学流动  

The Aesthetic Mobility of Indigenous Art in Gerald Vizenor’s Novel Blue Ravens

作　　者：李雪梅[1] 罗海琼 LI Xuemei LUO Haiqiong(School of English Studies,Dalian University of Foreign Languages,Dalian 116044,China)

机构地区：[1]大连外国语大学英语学院,辽宁大连116044

出　　处：《山东外语教学》2024年第2期92-102,共11页Shandong Foreign Language Teaching

基　　金：国家社科基金重大项目“美国族裔文学中的文化共同体思想研究”(项目编号:21&ZD281);教育部人文社科一般项目“美国本土裔文学中的哲学思想研究”(项目编号:22YJA752013)的阶段性成果。

摘　　要：艺术的流动不仅是审美体验的源泉,更是社会凝聚力和文化融合的催化剂。美国作家维兹诺从艺术的反历史、生存和共同体三个美学角度切入,再现了土著艺术在流动过程中的反抗与融合,表达了作家对美国官方历史叙事的批判、对艺术疗愈战争创伤的肯定和对构建艺术共同体的渴望。本文认为,土著艺术作为一种美学实践超越了单纯的审美追求,展现了其适应和吸收外来文化元素的灵活性和创新性,这对土著艺术在全球化背景下摆脱殖民桎梏、建立美学共同体具有深远意义。The mobility of art serves not only as a wellspring of aesthetic experiences but also as a catalyst for social cohesion and cultural integration.Through the aesthetic lenses of counter-history,survival,and community,Vizenor delves into indigenous art,revealing its resistance and assimilation in the flux,while unearthing critiques of official American historical narratives.Additionally,Vizenor affirms art’s healing efficacy for war trauma and articulates a yearning to foster artistic communities.This paper argues that indigenous art,as an aesthetic practice,transcends mere aesthetic pursuits,showcasing its adaptability and innovative absorption of external cultural elements.This flexibility holds profound significance for indigenous art to break free from colonial shackles and forge aesthetic communities amidst globalization.

关 键 词：杰拉尔德·维兹诺 《蓝鸦》 反历史美学 生存美学 美学共同体 

分 类 号：I106[文学—世界文学]