乔纳森·弗兰岑文学创作中的无地方性  

Placelessness in Jonathan Franzen’s Literary Writing

作　　者：许婷芳 Xu Tingfang(School of Foreign Studies,Hefei University of Technology,Hefei 230601,China)

机构地区：[1]合肥工业大学外国语学院

出　　处：《外国语文研究》2024年第5期49-58,共10页Foreign Language and Literature Research

基　　金：中央高校青年教师科研创新启动专项“乔纳森·弗兰岑地方创作的新走向研究”(项目编号:JZ2021HGQA0252)的阶段性成果。

摘　　要：全球化的发展加速了地方的同质化,地方走向无地方。美国当代社会小说家乔纳森·弗兰岑的个人实践和文学创作充分映射了这种无地方的发展趋势。于作家本人而言,他有意识地淡化中西部地方主义要素,开启“渐行渐远”的多元化地方体验,并在观鸟行为和环保事业中内省式参与管理世界主义。于作家的小说创作而言,《自由》中的无地方性表现明显,尤其是无名湖这一地点的设置,具体演绎了地方与无地方之间的张力变化。论文采用人文主义地理学的无地方理论视角,聚焦弗兰岑其人其作对无地方的映射与思索,旨在揭示无地方之于文学创作的挑战与契机。Under the influence of globalization,places are becoming standardized and homogenized.In other words,places gradually turn into placelessness.Jonathan Franzen,a great American social novelist,fully displays this placelessness trend in his personal place practice and literary writing.On a personal level,Franzen consciously decentralizes his Midwestern root and goes“farther away”to diversify his place experiences.Moreover,he introspectively embraces cosmopolitanism by participating into global bird-watching journey and environmental protection.As to his literary writing,his fourth novel Freedom(2010)fully demonstrates placelessness by the main characters’denying of Nameless Lake’s meaning,which concretely shows the tangled tension between place and placelessness.The paper applies the placelessness theory from Humanistic Geography into analyzing Franzen’s personal practice and literary exploration of placelessness.It aims to reveal how placelessness brings about challenges and chances to literary writing.

关 键 词：乔纳森·弗兰岑 无地方 地方 《自由》 无名湖 

分 类 号：I712.074[文学—其他各国文学]