“他者”的旅行——凌叔华《古韵》跨文化书写中的性别叙事  

The Journey of the“Other”—Gendered Narratives in Cross-cultural Writing of Ling Shuhua’s Ancient Melodies

作　　者：刘一昕 LIU Yixin(School of Chinese and Literature,Beijing Normal University,Beijing 100875,China)

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《中州大学学报》2025年第2期14-19,共6页Journal of Zhongzhou University

基　　金：中央高校基本科研业务费专项资金“二十世纪中国的思想话语与文学生产的互动关系研究”(1243300002)。

摘　　要：《古韵》(Ancient Melodies)是凌叔华跨文化写作中最重要的文学作品。作为第三世界的一名女性作者,凌叔华游走于中英两种文化边缘地带寻找着自我真实性的印证,同时自觉融入伦敦布鲁姆斯伯里团体,于此想象现代中国的期待视野。总体而言,《古韵》满足了西方读者对于东方古老文明的异邦想象,成就了作者对于跨文化理想的自我追怀,更重要的是表现出在西方文化背景下凌叔华作为一名现代中国女性的自觉意识和世界主义。但在一定程度上,《古韵》也反映出作者在创作时受到西方中心话语的制约,以及在这种制约下如何通过文字/图像叙事策略与之进行性别身份协商。Ancient Melodies is the most important literary work in Ling Shuhua’s cross-cultural journey.As a third-world female author,Ling Shuhua travelled on the fringes of both Chinese and British cultures in search of her own authenticity,and at the same time consciously integrated herself into the expectations of the Bloomsbury group in London,which imagined modern China.On the whole,Ancient Melodies satisfies the Western readers’exotic imagination of ancient civilisation,fulfils the author’s own self-pursuing of cross-cultural ideals,and demonstrates Ling Shuhua’s self-awareness and cosmopolitanism as a modern Chinese woman in the context of Western culture.However,to a certain extent,Ancient Melodies also reflects the constraints of Western-centred discourses on the author’s creation,and how she negotiates her gender identity under such constraints through textual/image-based narrative strategies.

关 键 词：凌叔华 《古韵》 跨文化写作 性别叙事 

分 类 号：I206[文学—中国文学]