土著艺术的越界与世界性——以维兹诺的小说《蓝鸦》为例  

The Boundary Crossing and Cosmopolitanism of IndigenousArt: A Case Study of 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：《浙江外国语学院学报》2024年第2期86-94,共9页Journal of Zhejiang International Studies University

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”(21&ZD281);国家社科基金一般项目“北美印第安文学中的共同体书写研究”(21BWW067);教育部人文社会科学研究规划基金项目“美国本土裔文学中的哲学思想研究”(22YJA752013);辽宁省高校基本科研项目(LJKMR20221540)。

摘　　要：艺术的越界既是一种跨文化交流,也是一种审美政治在场的昭示。杰拉尔德·维兹诺从艺术的越界角度切入,再现了《蓝鸦》在越界流动中土著艺术思想的变迁,展示了土著艺术在全球化进程中的适应性与生命力及其能够在接纳外部影响的同时坚守自身独特的文化基因。维兹诺无论是在跨国战争中对普遍人性的揭示,还是在跨大西洋交流中对跨文化对话的倡导,抑或是在艺术的世界性中对艺术话语的构建,无不凸显了他拒绝迎合西方殖民者的刻板信条和固化殖民想象,坚持土著艺术创作的独立性、灵活性和多元性,摆脱种族主义和殖民主义话语霸权的信心和决心。The boundary crossing of art serves not only as a cross-cultural exchange but also as an exhibition of aesthetic politics.In his novel Blue Ravens,Gerald Vizenor approaches from the perspectives of artistic trans-boundary,so that he recreates the changes in indigenous artistic thoughts amidst trans-boundary flows,demonstrates the adaptability and vitality of indigenous art in the process of globalization,and highlights its ability to uphold its unique cultural inheritance while embracing external influences.Vizenor,in his course of writing about universal humanity in transnational wars,of advocating for cross-cultural dialogue in transatlantic exchanges,and of constructing artistic discourse in the global nature of art,consistently highlights his refusal to conform to the stereotypical creeds and rigid colonial imagination of Western colonizers.He insists on the independence,flexibility,and diversity of indigenous art creation,confidently and resolutely breaking free from the hegemony of racist and colonialist discourses.

关 键 词：杰拉尔德·维兹诺 《蓝鸦》 越界 世界性 

分 类 号：I712.074[文学—其他各国文学]