越界的缪斯
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摘要
在新近出版的散文集《跨越边界》中,著名印度裔英国小说家萨尔曼·拉什迪写道:“在我们天性的最深处,我们是跨越边界的生命。我们通过自述的故事了解了这个事实;因为我们也是讲故事的动物”。“越界”正是拉什迪毕生坚持的世界观,也是他小说的重要主题之一。本论文结合拉什迪的小说创作探讨(1)拉什迪“越界”观的成因;(2)拉什迪如何在小说创作中践行他的“越界”观;(3)拉什迪“越界”艺术所取得的成就与不足。全文包括六个章节。
第一章为导论,首先介绍拉什迪的创作背景,强调拉什迪的生活经历对其“越界”世界观的影响;梳理拉什迪研究现状,指出近年来的拉什迪研究一味关注其作品中的“杂交性”倾向;最后指出拉什迪所坚持的“越界”观不仅仅是对地理界限的跨越,更是对传统历史、文化、诗学和宗教信仰观的全面跨越。
第二章聚焦于拉什迪小说的印巴历史表征,论证拉什迪通过印度与巴基斯坦民族历史的“奇幻化”和“个人化”处理来“戏说”一段别样的印巴历史。从印度街头说书人的“戏说”中获得启迪的拉什迪在亦真亦幻的历史叙事中跨越史实/捏造的界限,突显印度和巴基斯坦民族历史的建构性,挑战“民族真理”的权威性。同时,笔者也指出拉什迪在历史观上存在着忽视“历史真相”重要性、讽刺印度无产阶级反抗运动的缺陷。
第三章从拉什迪小说的流散叙事出发,论述作为后殖民流散者的拉什迪在民族主义/跨民族主义、东方传统/西方文明的博弈中跨越上述二者的界限,挑战建立在极端民族主义基础上的帝国主义和种族主义,描摹出前殖民地流散者绝处逢生、凤凰涅槃的移民旅程和心灵轨迹。同时,拉什迪精英流散者的身份也使他无法真正代表和传达印度流散者的心声,只能成为依附于英国文学界,凭借贩卖印度传统文化来满足白人猎奇心理的“买办知识分子”。
第四章围绕拉什迪的诗学观展开论述,探讨拉什迪如何利用“语码挪用”和“叙事挪用”的艺术策略跨越东方诗学/西方诗学的界限、“废除”西方文学的文化霸权。拉什迪的诗学“挪用”策略也影响着当代印度英语作家,形成了印度英语文学独特的诗学风格,为印度英语文学的发展繁荣奠定了基础。但是,笔者认为出生于印度中产阶级的拉什迪无法接触印度平民最“草根”的话语形式与叙事模式,因此也无法真正吸收和借鉴他们悠久的文学传统。
第五章深入研究拉什迪如何通过反思伊斯兰教基本信仰和宗教修持来跨越信仰/亵渎边界。笔者指出伊斯兰教作为一种宗教信仰、意识形态和文化体系对伊斯兰国家和穆斯林人民具有巨大的影响力;拉什迪对伊斯兰教信仰/亵渎的盲目“跨越”不仅暴露了其东方主义思想,也使他自诩的“世俗主义”沦为“世俗主义的本质主义”。
第六章为结论,从艺术荣誉和影响力两个方面总结拉什迪“越界”小说所取得的成就。同时,本章也从“越界”观的后现代主义哲学基础出发总结其得失。论文指出虽然拉什迪在“越界”小说中跨越重重权利的“边界”、突破层层霸权的重围,但他忽略印巴无产阶级的政治诉求、无视“策略性的本质主义”的重要作用、认同东方主义思想,最终将会为此付出血的代价。
In the newly published Step Across This Line, Salman Rushdie, an India-born British novelist of international renown, opines:“In our deepest natures, we are frontier-crossing beings. We know this by the stories we tell ourselves; for we are storytelling animals, too”. Implicit within this contention is the notion of border-crossing/transgressing that serves as an essential component of Rushdie’s Weltanschauung, and one of his most significant subject matters as well.
Based on Salman Rushdie’s works, this dissertation investigates: (1) the formation of his“border-crossing”; (2) the actualization of this world outlook in his literary creation; and (3) the gains and losses of his“border-crossing”narratives. This dissertation consists of six chapters.
Chapter One presents a brief introduction of Rushdie’s literary background, giving specificity to the profound influence exerted by his experiences on the formation of“border-crossing”. Through a comprehensive review of the Rushdian literary criticisms in recent years, the author contends that there has been a tendency to over-emphasize the significance of“hybridity”in his works. In the last analysis, the author argues that what is implied in Rushdie’s“border-crossing”is the destruction of those historical, cultural, formal and religious orthodoxies, instead of the mere geographical frontiers.
Of paramount importance are history, culture, poetics and religion that constitute principal parts of Salman Rushdie’s“border-crossing”. The following four chapters center upon Rushdie’s representations of Indian and Pakistan histories, Indian diasporas, Indian English poetics and Islam respectively, investigating how this Weltanschauung finds expression in his novels.
In Chapter Two, the author argues that Rushdie innovatively“fantasizes”and personalizes Indian and Pakistan histories so that the borderline between fact and fabrication is crossed. Chapter Three focuses on Salman Rushdie’s representation of Indian diasporas, demonstrating how they cross the boundary between Indian culture and its British counterpart, and subsequently strike a delicate balance between their homeland and their hostland. Chapter Four gives expression to Rushdie’s viewpoints on Indian English poetics, crystallizing the textual strategies of“language appropriation”and“narrative appropriation”employed by him to deconstruct the binary opposition between Western poetics and its Eastern counterpart. What Salman Rushdie thinks of Islam manifests itself in Chapter Five, in which the author contends that the fundamental cornerstone of faith in God might be shattered through his provocative interrogation of Islamic beliefs and practices. The points the author wants to make in this chapter, however, are that as a form of faith, ideology and culture, Islam assumes a special importance among the Islamic countries, and that Rushdie’s“border-crossing”not only makes an Orientalist of him, but lays bare the“secularist essentialism”within the“secularism”he is always boasting of.
In Chapter Six, the conclusion, the author summarizes the outstanding achievements Rushdie’s novels of“border-crossing”have gained. Tracing Rushdie’s“border-crossing”to its postmodernist basis, the author gives an evaluation of its gains and losses. This chapter concludes that“border-crossing”enables Rushdie to“write back”against those hegemonic discourses. However, his neglecting Indian and Pakistan proletariats’political demands, ignoring the significance of“strategic essentialism”and identifying himself with Orientalism will ineluctably entangle him in more troubles.
第一章为导论,首先介绍拉什迪的创作背景,强调拉什迪的生活经历对其“越界”世界观的影响;梳理拉什迪研究现状,指出近年来的拉什迪研究一味关注其作品中的“杂交性”倾向;最后指出拉什迪所坚持的“越界”观不仅仅是对地理界限的跨越,更是对传统历史、文化、诗学和宗教信仰观的全面跨越。
第二章聚焦于拉什迪小说的印巴历史表征,论证拉什迪通过印度与巴基斯坦民族历史的“奇幻化”和“个人化”处理来“戏说”一段别样的印巴历史。从印度街头说书人的“戏说”中获得启迪的拉什迪在亦真亦幻的历史叙事中跨越史实/捏造的界限,突显印度和巴基斯坦民族历史的建构性,挑战“民族真理”的权威性。同时,笔者也指出拉什迪在历史观上存在着忽视“历史真相”重要性、讽刺印度无产阶级反抗运动的缺陷。
第三章从拉什迪小说的流散叙事出发,论述作为后殖民流散者的拉什迪在民族主义/跨民族主义、东方传统/西方文明的博弈中跨越上述二者的界限,挑战建立在极端民族主义基础上的帝国主义和种族主义,描摹出前殖民地流散者绝处逢生、凤凰涅槃的移民旅程和心灵轨迹。同时,拉什迪精英流散者的身份也使他无法真正代表和传达印度流散者的心声,只能成为依附于英国文学界,凭借贩卖印度传统文化来满足白人猎奇心理的“买办知识分子”。
第四章围绕拉什迪的诗学观展开论述,探讨拉什迪如何利用“语码挪用”和“叙事挪用”的艺术策略跨越东方诗学/西方诗学的界限、“废除”西方文学的文化霸权。拉什迪的诗学“挪用”策略也影响着当代印度英语作家,形成了印度英语文学独特的诗学风格,为印度英语文学的发展繁荣奠定了基础。但是,笔者认为出生于印度中产阶级的拉什迪无法接触印度平民最“草根”的话语形式与叙事模式,因此也无法真正吸收和借鉴他们悠久的文学传统。
第五章深入研究拉什迪如何通过反思伊斯兰教基本信仰和宗教修持来跨越信仰/亵渎边界。笔者指出伊斯兰教作为一种宗教信仰、意识形态和文化体系对伊斯兰国家和穆斯林人民具有巨大的影响力;拉什迪对伊斯兰教信仰/亵渎的盲目“跨越”不仅暴露了其东方主义思想,也使他自诩的“世俗主义”沦为“世俗主义的本质主义”。
第六章为结论,从艺术荣誉和影响力两个方面总结拉什迪“越界”小说所取得的成就。同时,本章也从“越界”观的后现代主义哲学基础出发总结其得失。论文指出虽然拉什迪在“越界”小说中跨越重重权利的“边界”、突破层层霸权的重围,但他忽略印巴无产阶级的政治诉求、无视“策略性的本质主义”的重要作用、认同东方主义思想,最终将会为此付出血的代价。
In the newly published Step Across This Line, Salman Rushdie, an India-born British novelist of international renown, opines:“In our deepest natures, we are frontier-crossing beings. We know this by the stories we tell ourselves; for we are storytelling animals, too”. Implicit within this contention is the notion of border-crossing/transgressing that serves as an essential component of Rushdie’s Weltanschauung, and one of his most significant subject matters as well.
Based on Salman Rushdie’s works, this dissertation investigates: (1) the formation of his“border-crossing”; (2) the actualization of this world outlook in his literary creation; and (3) the gains and losses of his“border-crossing”narratives. This dissertation consists of six chapters.
Chapter One presents a brief introduction of Rushdie’s literary background, giving specificity to the profound influence exerted by his experiences on the formation of“border-crossing”. Through a comprehensive review of the Rushdian literary criticisms in recent years, the author contends that there has been a tendency to over-emphasize the significance of“hybridity”in his works. In the last analysis, the author argues that what is implied in Rushdie’s“border-crossing”is the destruction of those historical, cultural, formal and religious orthodoxies, instead of the mere geographical frontiers.
Of paramount importance are history, culture, poetics and religion that constitute principal parts of Salman Rushdie’s“border-crossing”. The following four chapters center upon Rushdie’s representations of Indian and Pakistan histories, Indian diasporas, Indian English poetics and Islam respectively, investigating how this Weltanschauung finds expression in his novels.
In Chapter Two, the author argues that Rushdie innovatively“fantasizes”and personalizes Indian and Pakistan histories so that the borderline between fact and fabrication is crossed. Chapter Three focuses on Salman Rushdie’s representation of Indian diasporas, demonstrating how they cross the boundary between Indian culture and its British counterpart, and subsequently strike a delicate balance between their homeland and their hostland. Chapter Four gives expression to Rushdie’s viewpoints on Indian English poetics, crystallizing the textual strategies of“language appropriation”and“narrative appropriation”employed by him to deconstruct the binary opposition between Western poetics and its Eastern counterpart. What Salman Rushdie thinks of Islam manifests itself in Chapter Five, in which the author contends that the fundamental cornerstone of faith in God might be shattered through his provocative interrogation of Islamic beliefs and practices. The points the author wants to make in this chapter, however, are that as a form of faith, ideology and culture, Islam assumes a special importance among the Islamic countries, and that Rushdie’s“border-crossing”not only makes an Orientalist of him, but lays bare the“secularist essentialism”within the“secularism”he is always boasting of.
In Chapter Six, the conclusion, the author summarizes the outstanding achievements Rushdie’s novels of“border-crossing”have gained. Tracing Rushdie’s“border-crossing”to its postmodernist basis, the author gives an evaluation of its gains and losses. This chapter concludes that“border-crossing”enables Rushdie to“write back”against those hegemonic discourses. However, his neglecting Indian and Pakistan proletariats’political demands, ignoring the significance of“strategic essentialism”and identifying himself with Orientalism will ineluctably entangle him in more troubles.
引文
①请见周来祥,“论哲学、美学中主客二元对立思维模式的产生、发展及其辨证解决”,《文艺研究》,2005年第4期,第35-44页。
①转引自陆扬著,《德里达——解构之维》,武汉:华中师范大学出版社,1996年,第57页。
①李公明著,《历史是什么》,广州:广东教育出版社,1997,p.70.
①具体内容请参见潘天群著《博弈生存——社会现象的博弈论解读》,北京:中央编译出版社,2001,pp.13-21.
①本文聚焦于以拉什迪为代表的后殖民流散作家。流散者是一个笼统的概念,指两地之间的流亡者,如从一欧洲国家到另一欧洲国家的西方人。但是,本文所研究的后殖民流散者是指从前殖民地移居帝国中心的移民及其后代,他们具有比普通流亡者更复杂的境遇和更多的痛苦。
②请参见拙作“变幻莫测的‘卡莉女神’”,载《解放军外国语学院学报》,2007年第3期,pp.93-97。
③在许多后殖民理论家看来,宗主国的殖民主义和帝国主义是一种极端化的民族主义。
④某些华人学者将本词译成“离散”。但是,美国加州大学英文系刘军教授指出,“离散”具有背井离乡的凄凉感,
①请参见拙作“变幻莫测的‘卡莉女神’”,载《解放军外国语学院学报》,2007年第3期,pp.93-97;转载于人大复印资料《外国文学研究》,2007年第9期。
②请参见拙作“飞跃本土和种族主义的流亡者”,载《江苏外语教学研究》,2004年第2期,pp.73-80。
①转引自Shlomith Rimmon-Kenan, Narrative Fiction: Contemporary Poetics, p.87.
①Manfred Jahn, Narratology: A Guide to the Theory of Narrative. http://www.unikowln.de/~ame02/ppp.htm , 2000, N2.1.
①转引自Chelva Kanaganayakam,“Indian Writing in English: Counterrealism as Alternative Literary History,”p. 670.
①转引自Malise Ruthven, A Satanic Affair: Salman Rushdie and the Rage of Islam, p.11.
①转引自Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Key Concepts in Post-colonial Studies, p. 79.
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①转引自陆扬著,《德里达——解构之维》,武汉:华中师范大学出版社,1996年,第57页。
①李公明著,《历史是什么》,广州:广东教育出版社,1997,p.70.
①具体内容请参见潘天群著《博弈生存——社会现象的博弈论解读》,北京:中央编译出版社,2001,pp.13-21.
①本文聚焦于以拉什迪为代表的后殖民流散作家。流散者是一个笼统的概念,指两地之间的流亡者,如从一欧洲国家到另一欧洲国家的西方人。但是,本文所研究的后殖民流散者是指从前殖民地移居帝国中心的移民及其后代,他们具有比普通流亡者更复杂的境遇和更多的痛苦。
②请参见拙作“变幻莫测的‘卡莉女神’”,载《解放军外国语学院学报》,2007年第3期,pp.93-97。
③在许多后殖民理论家看来,宗主国的殖民主义和帝国主义是一种极端化的民族主义。
④某些华人学者将本词译成“离散”。但是,美国加州大学英文系刘军教授指出,“离散”具有背井离乡的凄凉感,
①请参见拙作“变幻莫测的‘卡莉女神’”,载《解放军外国语学院学报》,2007年第3期,pp.93-97;转载于人大复印资料《外国文学研究》,2007年第9期。
②请参见拙作“飞跃本土和种族主义的流亡者”,载《江苏外语教学研究》,2004年第2期,pp.73-80。
①转引自Shlomith Rimmon-Kenan, Narrative Fiction: Contemporary Poetics, p.87.
①Manfred Jahn, Narratology: A Guide to the Theory of Narrative. http://www.unikowln.de/~ame02/ppp.htm , 2000, N2.1.
①转引自Chelva Kanaganayakam,“Indian Writing in English: Counterrealism as Alternative Literary History,”p. 670.
①转引自Malise Ruthven, A Satanic Affair: Salman Rushdie and the Rage of Islam, p.11.
①转引自Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Key Concepts in Post-colonial Studies, p. 79.
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