科技东方主义的再审视  

Techno-Orientalism Reconsidered

作　　者：李汝琪 Li Ruqi(the School of Foreign Studies,Nanjing University,Nanjing,China,210023)

机构地区：[1]南京大学外国语学院

出　　处：《当代外国文学》2024年第4期161-168,共8页Contemporary Foreign Literature

基　　金：2023年度江苏省研究生科研创新计划项目“后冷战时代美国科幻中的亚洲未来想象研究”(KYCX23_0046)的阶段性成果。

摘　　要：“科技东方主义”由大卫·莫利和凯文·罗宾斯于1995年首次提出,最初用以解释赛博朋克未来想象中亚洲和未来性的缠绕现象,探究东方主义在科技领域中对他者化机制的继承。21世纪以来,随着中国综合国力的提升,科技东方主义的意涵也发生了移位,出现了以全球化、新冷战思维和数字科技为特征的中国转向。本文以这一转向为契机,对科技东方主义进行再思考,指出科技东方主义在当下依然具有后殖民批评和技术批判的双重功能。对这个批评概念进行与时共进的知识生产和批判性建构,不仅可以揭示西方弥漫的“中国威胁论”这一文化症候,还可以开启一种具有施为性的跨学科方法论,介入西方受众对中国的审美经验与未来想象。David Morley and Kevin Robins coined the term“techno-Orientalism”in 1995 to explain the overrepresentation of Asia in cyberpunk futurity.They were interested in how techno-Orientalism perpetuated the othering mechanism of Orientalism in the field of science and technology.The twenty-first century saw the rise of China,and techno-Orientalism responded to these changes by turning its attention to China,where globalization,a Cold War mentality,and digital technologies became important factors in reproducing Oriental future speculations.Reconsidering techno-Orientalism at this crucial point requires an emphasis on its dual function in postcolonial critique and techno-criticism.This re-examination not only recognizes the“China threat theory”as a cultural symptom that pervades Western society,but also opens up the possibility of an interdisciplinary methodology.Such a methodology has the performative potential to intervene in Western audiences'aesthetic perceptions and future imaginations of China.

关 键 词：科技东方主义 未来想象 科幻小说 赛博朋克 中国威胁论 

分 类 号：G63[文化科学—教育学]