《我知道笼中鸟为何歌唱》中的罪感意识与自我救赎  

Sin-Consciousness and Self-Redemption in I Know Why the Caged Bird Sings

作　　者：张莉[1] 杨小慧 Zhang Li;Yang Xiaohui

机构地区：[1]郑州大学外国语与国际关系学院 [2]郑州大学英美文学研究中心

出　　处：《中国社会科学院大学学报》2024年第7期121-132,155,156,共14页Journal of University of Chinese Academy of Social Sciences

基　　金：国家社会科学基金重点项目“‘纽约知识分子学派’文化共同体思想及其诗学话语研究”(22AWW006)的阶段性成果。

摘　　要：西方文学传统潜存着厚重的罪感意识,体现出罪感文化的精神渗透。在《我知道笼中鸟为何歌唱》中,美国非裔女孩玛格丽特在种族主义与男权主义思想的双重戕害下饱受创伤,背负着沉重的罪感意识。在白人至上的美国社会,身为黑人的玛格丽特接受了种族原罪的灌输;在宗教教义的束缚和父权制社会的压迫下,作为强奸事件受害人的她被迫而又主动地进行了自我赋罪。玛格丽特的罪感意识是在外界环境打压和社会规约潜移默化的影响下自我丧失的结果,显露了在现代化进程中自我认同的危机。在民权主义与女性主义运动的共同启蒙下,在黑人女性共同体的引领下,玛格丽特终于在对黑人历史与文化传统的找寻中,在自我发现和自我身份确认中,成功挣脱了罪感的束缚,踏上了自我救赎之旅。Sin-consciousness has long lingered within Western literary traditions,reflecting active spiritual contemplation of guilt culture.InI Know Why the Caged Bird Sings,the young African-American protagonist,Margaret,is traumatized by the dual burdens of racism and the patriarchal system,weighed down by a profound sin-consciousness.In American society dominated by white supremacy,Margaret is burdened with the original sin of race as a Black person.Under the influence of religious doctrine and the oppression of patriarchal society,Margaret,to some extent,internalizes self-blame as a victim of rape.Her sin-consciousness represents the result of self-loss amid external oppression and subtle social constraints,highlighting a crisis of self-identity in the modernization process.In the midst of civil rights and feminist movements,and guided by the Black female community,Margaret ultimately succeeds in breaking free from the bonds of sin-consciousness.This liberation is achieved through her exploration of Black history,cultural traditions,and a journey of self-discovery and self-identification,marking her path toward self-redemption.

关 键 词：玛雅·安吉洛 《我知道笼中鸟为何歌唱》 罪感意识 自我救赎 

分 类 号：I106[文学—世界文学]