【摘要】： 魔幻現(xiàn)實主義是二十世紀(jì)新興起的文學(xué)流派之一。它于二十世紀(jì)五六十年代興起于拉丁美洲,七十年代傳入歐洲和北美。魔幻現(xiàn)實主義植根于拉美寡頭黑暗統(tǒng)治的現(xiàn)實生活中,融匯、吸納古印第安文學(xué)、現(xiàn)實主義文學(xué)與西方現(xiàn)當(dāng)代文學(xué)的有益經(jīng)驗,將幻象、神話與現(xiàn)實相結(jié)合,大膽借鑒象征、荒誕、意識流等西方現(xiàn)代主義和后現(xiàn)代主義文學(xué)的各種表現(xiàn)技巧、手法,以鮮明、獨特的拉美地域色彩為特征。其顯著特征可以歸納為四大類:民族性、雜合性、魔幻性和繁復(fù)性。魔幻現(xiàn)實主義有利于當(dāng)代文學(xué)界的多樣性和雜合化,及其反對殖民主義的發(fā)展趨勢。 本文以兩位當(dāng)代著名的非拉美女性作家安吉拉·卡特和托尼·莫里森的代表作《馬戲團之夜》和《寵兒》為文本,比較了其中的魔幻現(xiàn)實主義特征,分析其異同,并剖析了傳統(tǒng)的拉美魔幻現(xiàn)實主義、后現(xiàn)代主義、白人文化和黑人文化這兩種不同文化,以及女權(quán)主義和后殖民主義給這兩部作品帶來的影響。 安吉拉·卡特的《馬戲團之夜》和托尼·莫里森的《寵兒》中所表現(xiàn)出的魔幻現(xiàn)實主義特征相同點包括片段化、荒謬性和象征手法的運用。其中,片段化主要體現(xiàn)在這兩部作品中所共同表現(xiàn)出的時間的錯亂和敘述的并置;荒謬性主要體現(xiàn)在這兩部作品中所運用的奇幻的想象和哥特式描寫;其象征手法的共性則可歸為四類:背景環(huán)境——《馬戲團之夜》中的“馬戲團”和《寵兒》中的“甜蜜之家”、主要人物——《馬戲團之夜》中的“蜘蛛網(wǎng)”和《寵兒》中的“寵兒”、人物的身體特征——《馬戲團之夜》中菲弗爾斯背上的翅膀和《寵兒》中塞斯背上的“樹”狀疤痕,以及某些液體意象——《馬戲團之夜》中的經(jīng)血和《寵兒》中的水。 這兩部作品的不同點主要表現(xiàn)在兩方面:首先,二者所描述的人物群體不同——《馬戲團之夜》為讀者呈現(xiàn)了一個女性怪物博物館,而《寵兒》則描寫了一個鬼魂纏繞的黑人社區(qū);第二,二者魔幻性的來源不同——《馬戲團之夜》借用西方神話和童話作為其魔幻性的素材,而《寵兒》則將其魔幻性建立在非洲信仰和傳說的基礎(chǔ)上。 此外,這兩部作品的魔幻現(xiàn)實主義特征存在異同,有其各自原因。由于魔幻現(xiàn)實主義最早在拉美地區(qū)興起,這兩部表現(xiàn)魔幻主義的作品不免都受到傳統(tǒng)拉美魔幻現(xiàn)實主義的影響,因而都具有傳統(tǒng)拉美魔幻現(xiàn)實主義的共同特征;又由于這兩部作品的作家都是當(dāng)代作家,其思想和寫作手法不免受到后現(xiàn)代主義的影響,都表現(xiàn)出明顯的后現(xiàn)代主義特征(如片段化、怪誕等)。然而,由于寫作的側(cè)重點,以及民族和種族的不同,這兩位作家的作品中所表現(xiàn)出的魔幻現(xiàn)實主義存在很大差異似乎則是必然的:《馬戲團之夜》的魔幻現(xiàn)實主義主要受到了女權(quán)主義的影響,而對女性進行了大膽、夸張的刻畫;《寵兒》則主要受到其作者的黑人身份的影響,用錯亂、離奇、甚至恐怖的魔幻現(xiàn)實主義表現(xiàn)手法對奴隸制及白人文化霸權(quán)給予了辛辣的批判,從而表現(xiàn)出后殖民主義對其魔幻現(xiàn)實主義特征的影響。 本文通過比較和對比安吉拉·卡特和托尼·莫里森這兩位作家的代表作中所表現(xiàn)出的魔幻現(xiàn)實主義特征,發(fā)現(xiàn)這兩部作品在繼承了傳統(tǒng)拉美魔幻現(xiàn)實主義——雜合性、魔幻性、繁復(fù)性——的基礎(chǔ)上,又演繹出其不同于拉美的魔幻現(xiàn)實主義特征,如后現(xiàn)代主義、女權(quán)主義等;對于進一步探索魔幻現(xiàn)實主義具有一定的價值和意義,并有助于更好地理解和研究安吉拉·卡特和托尼·莫里森這兩位作家及其代表作。
[Abstract]:The magic realism is one of the new literary schools in the 20th century. It emerged in the 1950s and 1960s in Latin America and the 1970s into Europe and North America. The magic realism is rooted in the real life of the dark rule of the Latin American oligarchs, and combines the beneficial experience of the ancient Indian literature, the realist literature and the western modern literature, and combines the illusion, the myth and the reality, and has the bold reference of the symbol and the absurdity. The various expression techniques and techniques of western modernism and post-modernism literature, such as the elementary stream, are characterized by distinct and unique Latin American region colors. It can be divided into four categories: nationality, heterozygosity, magic and complexity. The magic realism is beneficial to the diversity and the hybrid of the contemporary literary world and the development trend of the anti-colonialism. In this paper, two famous non-Latin American female writers, Angela Carter and Toni Morrison, were made to compare the characteristics of the magic realism, analyze the similarities and differences, and analyze the traditional Latin American magic. The two different cultures of reality, post-modernism, white culture and black culture, as well as the two works of feminism and post-colonialism The influence of Angela Carter's and Tony Morrison's The same point includes fragmentation, absurdity, and The application of the symbolic method, in which the fragmentation is mainly embodied in the confusion and the narration of the time common in the two works; the absurdity is mainly embodied in the fantasy and the Gothic description of the two works; the symbol of its symbolic technique The sex can be classified into four categories: the background environment, the circus in the circus and the sweet home in the , the body characteristics of the character _ to present a female monster museum to the reader, and the describes a ghost. A black community in which the soul is wound; the second, the source of the magic of the two is different from that of the circus. The night of the circus is to borrow the western myth and the fairy tale as its magic material. On the basis of African beliefs and legends. In addition, the magic of these two works The similarities and differences in the characteristics of the doctrine of magic have their respective reasons. Because of the emergence of the magic realism in the Latin American region, the two films of the magic of the magic have been influenced by the traditional Latin American magic realism, and thus have the common characteristics of the traditional Latin American magic realism; and The writers of these two works are contemporary writers, and their thoughts and writing techniques are not subject to the influence of post-modernism. The characteristics of the generation (such as fragmentation, grotesque, etc.). However, as the focus of writing, as well as the differences between the nation and the race, there is a great difference in the magic realism of the two writers, which seems to be the inevitable: the magic of the night of the circus. The real doctrine is mainly influenced by the feminism, and the bold and exaggerated depiction of the female; and the child is mainly influenced by the black identity of the author, and is used for slavery by means of the magic realistic expression of the disorder, the strange and even the terror. The culture hegemony of the white and the white of the white people has given the bitter criticism, thus showing the post-colonial By comparing and comparing the magic realism features of the two writers of Angela Carter and Toni Morrison, the two works have been found to inherit the traditional Latin American magic reality. On the basis of the doctrine of heterozygosity, magic, and complexity _, it is different from the magic realism of Latin America, such as post-modernism, feminism, etc. The exploration of magic realism has certain value and significance, and helps to better understand and study Angela.
【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：I0-03;I106.4

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