《死寂之声》:印第安恶作剧者的城市“升存”与城市叙事  

Dead Voices:Urban Survivance and Urban Narrative of American Indian Tricksters

作　　者：丁文莉 Ding Wenli

机构地区：[1]江苏师范大学外国语学院

出　　处：《英美文学研究论丛》2024年第1期240-249,共10页English and American Literary Studies

基　　金：江苏省社会科学基金项目“当代美国印第安小说城市书写研究”(21WWD003)的阶段性成果。

摘　　要：自美国政府推行针对印第安人的保留地制度以后,印第安人就被限制在一块块狭小的土地上。虽然他们也曾走出保留地,但最终因为种种原因回到故乡。这种“归家”轨迹或模式在印第安文学作品中被反复呈现,导致印第安人在保留地以外的城市及城市叙事中的双重缺失。美国印第安作家杰拉德·维兹诺的小说《死寂之声》质疑了“印第安人只属于保留地”的谬误,以传统印第安恶作剧者的变形、越界等策略启发现代印第安人在现代都市以自己的方式“升存”,并实现部落文化的传承。另外,维兹诺在小说中的叙事手法延续了印第安口头叙事传统,打破了印第安人与现代城市叙事之间的界限,从而实现其在文学再现中的“升存”。Since the Reservation System was established by the US Federal Government,American Indians are restricted in the small pieces of land.Although they once leave to seek fortune,it appears that the reservation is always their destination.This“homing in”pattern is repeatedly presented in literary works by Native American writers,and is partially responsible for American Indiansabsence from urban space and urban narratives.Gerald Vizenor's Dead Voices challenges the misconception that reservations are where American Indians should stay.His stories of transforming and border-crossing tricksters encourage American Indians to achieve survivance and cultural continuity in modern cities.Moreover,Vizenor adopts native oral tradition into his literary creation,breaking the boundary between American Indians and urban narratives,restoring their survivance in literary representation.

关 键 词：杰拉德·维兹诺 恶作剧者 城市 升存 

分 类 号：I712.074[文学—其他各国文学]