论狂欢化视域下《米格尔街》的叙事艺术  

On the Narrative Art of Miguel Street from the Perspective of Carnivalization

作　　者：兰登宇 王欣[1] LAN Deng-yu;WANG Xin(College of Chinese Language and Literature,Xinjiang University,Urumqi 830046,China)

机构地区：[1]新疆大学中国语言文学学院,新疆乌鲁木齐830046

出　　处：《湖州职业技术学院学报》2024年第4期40-45,共6页Journal of Huzhou Vocational and Technological College

基　　金：2022年度湖州学院校级科研项目“湖州城市形象传播策略探析”(2022HXKM23)的研究成果之一。

摘　　要：狂欢化是巴赫金文化诗学中杂语美学的重要组成部分,是现代主义文艺思潮中自由反叛的代名词。奈保尔的《米格尔街》对普通居民种种荒诞却又现实的生动描写,实现了对“非中心”民间文化的另类重写与实践。文章基于对狂欢化文学语言的“离心性”和“异端性”的认知,从“广场语言”“小丑式国王”以及“筵席形象”三个方面剖析了《米格尔街》显在的“狂欢化”表达及其变异成像,进而深入“语言”背后的“主体视角”层面,阐释以“经验自我”与“现实自我”的矛盾为主体、以哈特的全知视角和卡里普索小调为补充的对话结构及其意义,最后延伸到“叙事语言”和“主体视角”之外的“情节结构”,在“逃离无望”与“回归不得”的循环制式中深化了对主题的探究。Carnivalization constitutes a vital component of the heteroglossia aesthetics in Bakhtin’s cultural poetics and stands as a synonym of free rebellion in modernist literary movements.Naipaul’s Miguel Street vividly portrays the absurd yet realistic lives of ordinary residents,accomplishing an alternative rewriting and practice of“non central”folk culture.Drawing on the understanding of the“eccentricity”and“heresy”inherent in carnivalized literary,this article delves into the explicit expressions of“carnivalization”and its transformed imagery in Miguel Street through three facets:“square language”“clown style king”and“banquet imagery”.Furthermore,it delves into the“subject perspective”underlying the“language”,elucidating the dialogic structure and its significance centered on the contradiction between the“experiential self”and the“actual self”,complemented by Hat’s omniscient perspective and Calypso minor melody.Ultimately,it extends to the“plot structure”beyond the“narrative language”and“subject perspective”,deepening the exploration of the theme within the cyclical pattern of“hopeless escape”and“irreversible return”.

关 键 词：《米格尔街》 狂欢化 叙事语言 叙事主体 叙事结构 

分 类 号：I106.4[文学—世界文学]