越境之虎——全球东亚文学与边地动物诗学初探  

Border-Crossing Tigers:Toward a Borderland Zoopoetics in Global East Asian Literature

作　　者：黄丁如 Huang Dingru

机构地区：[1]塔夫茨大学国际文学与文化研究系

出　　处：《中国比较文学》2025年第1期79-92,共14页Comparative Literature in China

摘　　要：当我们并置人与非人物种的文学旅程时,会从中发现什么?动物如何呼应或挑战了人类叙事的路径?除了象征与寓言,动物诗学是否存在其他可能?为了尝试回应上述问题,本文将对读四位有离散经验的作家作品:流亡中国东北的白俄作家拜阔夫20世纪三四十年代的猎虎叙事、日本作家中岛敦基于日据朝鲜生活经验写作的小说“虎狩”,以及由两位亚裔女性作家创作的后现代虎传奇——旅德日本作家多和田叶子的《飞魂》和华裔美国作家张欣明的《动物寓言》。通过讨论跨越时空的文学越境之虎,本文辨析其中环境、语言与性别身份中的殖民历史阴影,探索“边地动物诗学”在全球东亚文学中的可能性。What happens when we juxtapose human and nonhuman literary journeys?How do the trajectories of nonhuman figures parallel or challenge the routes of human narratives?Are there any possibilities for zoopoetics to go beyond fables and allegories?This article takes up these inquiries by bringing into dialogue the works of four diasporic writers:on the one hand,the 1930s-1940s colonial tiger stories by the Russianémigréwriter Nikolai Baikov and the Japanese writer Nakajima Atsushi’s“Tiger Hunt”(1942)based on his lived experience in colonial Korea;and on the other,postmodern tiger-themed fantastic novels by two Asian women,Soulfight(1998)by the Germany-based Japanese writer Tawada Yoko and Bestiary(2020)by the Chinese American writer K-Ming Chang.By tracing the border-crossing literary figures of tiger across time and space,this article reveals the coloniality of the environment,language,and gender in their historical and narrative contexts,and explores the possibilities for a“borderland zoopoetics”in global East Asian literature.

关 键 词：虎 边地动物诗学 离散经验 全球东亚文学 

分 类 号：I20[文学—中国文学]