从政治神学到世俗理性:“沃普兰德”布道三部曲与黑人权力运动的民族主义问题  

Warpland Trilogy and the Issue of Nationalism in Black Power Movement

作　　者：史丽玲[1] Shi Liling(School of Foreign Languages and Literature,Yunnan Normal University)

机构地区：[1]云南师范大学外国语学院,云南昆明650500

出　　处：《外国文学》2024年第6期38-48,共11页Foreign Literature

基　　金：国家社科基金项目“美国黑人艺术运动的左翼话语体系与大众文艺生产研究”(22BWW067)。

摘　　要：非裔美国诗人布鲁克斯的“沃普兰德”布道三部曲创作于20世纪黑人社会运动以及诗人创作发生激进转向的历史时期,两个转向具有内在逻辑一致性,即从融合主义转向黑人民族主义。布鲁克斯的诗学转变不仅是其学术史的重要问题,同时也为辨析60年代美国种族政治思想的转变提供了观察视点。本文将“沃普兰德”布道三部曲重新语境化,论证诗歌从政治神学到黑人权力、再到世俗理性的逻辑主线转换,及其在不同语境中相应的时空体指涉,揭示出黑人民族主义的多层政治文化内涵。本文认为,布鲁克斯种族政治的“保守性”预示了黑人民族主义走向,即黑人民族主义大多涵化于美国自由主义国家叙事,转变为结合政治多元主义与文化多元主义的族裔多元主义。Warpland trilogy was created in the turbulent 1960s in which Civil Rights Movement turned to Black Power Movement, and Gwendolyn Brooks also took a radical turn in her literary career. Both turns were fueled by the same ideological shift from integrationist to nationalism. Brooks' s poetic turn has become a focal point in Brooks scholarship;moreover, it provides a vantage point from which the shift of African American political ideology in the 1960s could be better examined. This paper resituates Warpland trilogy in its wider historical context to elaborate its logic transition from political theology to Black Power, and to secular rationalism. It can be demonstrated that Warpland trilogy explores multifaceted political connotation of black nationalism with corresponding chronotopes. This paper argues that Brooks' s “conservatism” in racial politics indicates the trend of black nationalism, namely black nationalism, has been mainly assimilated in American liberal narrative and took the form of ethnic pluralism, which wedded political pluralism to cultural pluralism.

关 键 词：布鲁克斯 “沃普兰德”三部曲 黑人权力 黑人民族主义 族裔多元主义 

分 类 号：I712[文学—其他各国文学]