走向后现代文化多元主义：从罗思和里德看美国犹太、黑人文学的新趋向
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摘要
后现代派小说是二十世纪美国文学的主要体裁。它不仅在二十世纪后半叶美国文学史上占有突出的地位，而且影响了美国少数民族文学，如黑人文学、犹太文学和亚裔文学等。从某种程度上说，后现代主义成为促使美国少数民族文学由边缘走向中心的动力。在后现代主义的氛围之下，许多少数民族作家用典型的后现代派小说的技巧进行创作，其作品体现出后现代派小说的典型特征，如黑人作家托尼·莫里森、伊什梅尔·里德，亚裔作家汤婷婷，犹太作家格蕾斯·佩蕾、菲利普·罗思等。他们认为美国现代派和早期后现代派作家留下的文化遗产，往往带有种族主义、西欧文化中心论和白人男性主义的痕迹。因此，这些少数民族后现代派作家不再强调欧洲文化传统、主流政治的浑沌和艺术形式的标新立异。他们主张比较公开的政治倾向，热爱非欧洲的祖先，推崇思想意识上的多元化，本族与美国主流的整合。伊什梅尔·里德和菲利普·罗思分别是当代美国黑人文学和犹太文学中最具后现代派特点的作家。本文以后现代主义为切入口，通过对这两个作家对他们各自美学传统的修正与创新、对各自文化历史的修正、对女权主义的反思以及其元小说的叙述技巧的分析，着实对当代美国社会的文化现状来进行一番考察和审视，指出伊什梅尔·里德和菲利普·罗思所构建的是多元主义文化的文本，体现出后现代多元丈化的特点。
本文第一章，“修正美国黑人及犹太美学传统”，通过对伊什梅尔·里德和菲利普·罗思对其各自文化传统的反思和修正的分析，指出一方面伊什梅尔·里德和菲利普·罗思是其传统的一部分，另一方面，他们又能够置身于其传统之外，对传统进行反思，并在反思的同时构建出各自的美学思想。
美国黑人把非洲古老的历史和悠久的丈化带到了美洲大陆，创造了很有价值的口头文学——包括圣歌、悲歌、民歌在内的黑人奴隶歌曲——从而奠定了黑人文学奴隶叙述体的传统。早期的黑人文学以废奴文学为主。20年代哈莱姆文艺复兴的主要内容是反对种族歧视，批判并否定汤姆叔叔型驯顺的旧黑人形象，鼓励黑人作家在艺术创作中歌颂新黑人的精神，树立新黑人的形象。在这次黑人文艺复兴中还展开了“艺术还是宣传”的讨论。以杜波依斯为代表的一派认为“一切艺术都是宣传，而且永远如此”，而以洛克为代表的一派强调“应该选择艺术，放弃宣传”。
根据托尼·莫里森的观点，现代美国黑人小说的发展可以分作四个阶段：先是抗议的狂热，这主要指从40年代理查德·赖特的崛起，经历50年代美国黑人的民权运动，到多事之秋的60年代这一时期。6 0年代，“分离主义”成了时髦的口号，同时也成为60年代激进黑人文学的特征。60年代后期至70年代初期一场与政治、社会运动平行发展并与不断发展中的黑人社会生活紧密联系的文化运动出现。它不仅宣扬黑人“美丽”，而且强调黑人比白人“更优越”。它以全新的姿态强调文化自豪感和文化自主，中心内容是标榜黑人权力的文化民族主义和鼓吹“黑人美学”的分离主义。宣扬的是突出黑人种族优越论的“黑人文化民族主义”。
但文化自主和民族自豪感毕竟不能当饭吃，在美国成立一个独立的黑人国家
毕竟是不现实的梦想。困此经历了这个动荡年代的作家开始较为反省地寻找自我
本质，进而进一步探索文化，在技艺上追求精益求精，对世界持更广博的看法。
从艾里森寻找自我本质的小说《看不见的人》一直到80年代一群把黑人家庭生
活作为描写重点的女作家，都反映莫里森的这种看法。所谓“对世界持更广博的
看法”就是要求黑人作家不在自己的作品里写种族矛盾与种族斗争，而是要求黑
人作家与白人作家步调一致，一同在作品中探索当代西方文化中面临的重要问
题：人与人的关系以及对自我本质的重新认识。里德正是一位在技艺上追求精益
求精，对世界持更广博的看法的作家。与其他同时代的作家不同，里德更为大胆
地在小说形式上进行探索，一方面对传统文化进行质疑，另一方面又从传说和神
话中挖掘被忽视的黑人文化，重新构建了他独具特色的“真正的黑人美学”思想，
它以 20年代哈莱姆和布鲁斯以及爵士乐的精神为基础，跟古代文化的神秘主义
有联系，旨在宣扬文化多元主义。
几个世纪以来，犹太人一直没有自己的祖国，四处流浪，受人压迫和歧视。
犹太人常常被看成是“异化的特殊人物”，犹太小说也主要以描写异化世界为主
题。美国犹太作家也不例外。美国犹太作家常常从人道主义的观点来描写犹太人
在异化社会里的遭遇，自我的异化或自我本质的危机，反映出现实生活中犹太人
的不幸，讽刺社会的不公正，探索生活的出路和犹太人受苦受难的根源。罗思一
方面继承了美国犹太文学的传统，描写犹太人的生活和他们不幸的命运，另一方
面又公开讽刺和反对犹太文学传统，以怪诞的形象和夸张的手法来讽刺美国的社
会弊病。
里德和罗思都对其各自的文化传统进行了质疑和修正。里德以“符笃”神话
为切入口，同其他黑人文学批评家展开论战，进而构建出了他独具特色的黑人美
学思想。罗思并没有像里德那样构建出某种鲜明的美学思想，但他对犹太传统的
公开反叛无疑也暗
The pluralizing of minoritarian literature and its poetics is one of the most important features in American postmodernism. Under postmodern aura the works of many minoritarian writers have been presented to be typical postmodernist narrative, as Toni Morrison, Ishmael Reed, Maxine Hong Kingston, Grace Paley, and Philip Roth. To some extent, postmodernism has become the dynamics for minoritarian writers in their efforts of compromising to the mainstream culture. For these writers the literary heritage left by American modernism and the early postmodern writers was Euro-centered, racial and white male oriented. So in the writings of these writers, they no longer emphasize on the European cultural tradition and the political correctness in the mainstream culture. What they advocate are an open political orientation, a loving for their non-European ancestor, the pluralizing of ideologies, and the combination of their cultural tradition with the mainstream. And thus, what is revealed in their writings is postmodernist multiculturalism, which is also the literary tendency for American literature in future. So the present thesis is a study on Reed and Roth, the most typical postmodernist writers in Afro-American and Jewish-American literature. Through analyzing their relation to their respective tradition, their own aesthetic creation, their revisiting of history, their attitudes toward feminism and their meta-narrative strategy, I intend to say Reed and Roth point out a way for their fellow people facing the multicultural society, i.e., multiculturalism.
Using a spatial model, I hope to show, ultimately, how Roth and Reed try to penetrate resistant domains and go where they feel excluded psychologically and socially. Of final importance will be these questions: What are the dynamic relation for Roth and Reed between mainstream experience and their Jewish-American and African-American self? What are their relation to and position in Jewish-American and African-American aesthetic tradition? Do they build their house of fiction from outside the mainstream and their literary tradition or inside? And if from outside, how do they manage this when their relation to Jewish-American and African-American tradition and life respectively are also largely one of a rebel and existential outcast, or do they straddle a line between their outsider's sphere and the mainstream? As will become evident, defining their footings as novelists in the cultural field of American life has interesting implications for the value of the category "Jewish-American writer" and "African-American writer" when examining the ethnic writers in the multicultural American society today.
In Chapter One, "Revising the African-American and Jewish-American Aesthetic Tradition," I argue that Reed and Roth are a part of their individual tradition, but they are beyond their tradition and build their house of fictions outside of their tradition.
Reed's African American heritage is one of heterogeneous eclecticism, which favors multiculturalism. He can rely on a tradition in which folk culture dominates and which offers him historically grown syncretic structures, on which he can base his
IV
own system. Neo-Hoodoo is a system in which ideas are treated as myths; they behave like loas, the Voodoo gods quarreling for influence. Reed eliminates static abstractions and instead favors dynamic personification. As an author he favors a pantheon which reflects multiple ideas and rules which enhance multicultural communication. The main issue at stake is representation, but rather than replacing an old set of representations with a new one, Reed introduces a different mode of representation altogether. Instead of replacing the "rulers" who represent the people, he defines new rules for their interaction and tampers with the metaphysical constitution. In order to find a model for a multicultural mythology of the future, he goes back to the pagan past of Africa, Egypt and Greece, and the Haitian animism of the present. Reed's heathen "true Afro-American aesthetic"
本文第一章，“修正美国黑人及犹太美学传统”，通过对伊什梅尔·里德和菲利普·罗思对其各自文化传统的反思和修正的分析，指出一方面伊什梅尔·里德和菲利普·罗思是其传统的一部分，另一方面，他们又能够置身于其传统之外，对传统进行反思，并在反思的同时构建出各自的美学思想。
美国黑人把非洲古老的历史和悠久的丈化带到了美洲大陆，创造了很有价值的口头文学——包括圣歌、悲歌、民歌在内的黑人奴隶歌曲——从而奠定了黑人文学奴隶叙述体的传统。早期的黑人文学以废奴文学为主。20年代哈莱姆文艺复兴的主要内容是反对种族歧视，批判并否定汤姆叔叔型驯顺的旧黑人形象，鼓励黑人作家在艺术创作中歌颂新黑人的精神，树立新黑人的形象。在这次黑人文艺复兴中还展开了“艺术还是宣传”的讨论。以杜波依斯为代表的一派认为“一切艺术都是宣传，而且永远如此”，而以洛克为代表的一派强调“应该选择艺术，放弃宣传”。
根据托尼·莫里森的观点，现代美国黑人小说的发展可以分作四个阶段：先是抗议的狂热，这主要指从40年代理查德·赖特的崛起，经历50年代美国黑人的民权运动，到多事之秋的60年代这一时期。6 0年代，“分离主义”成了时髦的口号，同时也成为60年代激进黑人文学的特征。60年代后期至70年代初期一场与政治、社会运动平行发展并与不断发展中的黑人社会生活紧密联系的文化运动出现。它不仅宣扬黑人“美丽”，而且强调黑人比白人“更优越”。它以全新的姿态强调文化自豪感和文化自主，中心内容是标榜黑人权力的文化民族主义和鼓吹“黑人美学”的分离主义。宣扬的是突出黑人种族优越论的“黑人文化民族主义”。
但文化自主和民族自豪感毕竟不能当饭吃，在美国成立一个独立的黑人国家
毕竟是不现实的梦想。困此经历了这个动荡年代的作家开始较为反省地寻找自我
本质，进而进一步探索文化，在技艺上追求精益求精，对世界持更广博的看法。
从艾里森寻找自我本质的小说《看不见的人》一直到80年代一群把黑人家庭生
活作为描写重点的女作家，都反映莫里森的这种看法。所谓“对世界持更广博的
看法”就是要求黑人作家不在自己的作品里写种族矛盾与种族斗争，而是要求黑
人作家与白人作家步调一致，一同在作品中探索当代西方文化中面临的重要问
题：人与人的关系以及对自我本质的重新认识。里德正是一位在技艺上追求精益
求精，对世界持更广博的看法的作家。与其他同时代的作家不同，里德更为大胆
地在小说形式上进行探索，一方面对传统文化进行质疑，另一方面又从传说和神
话中挖掘被忽视的黑人文化，重新构建了他独具特色的“真正的黑人美学”思想，
它以 20年代哈莱姆和布鲁斯以及爵士乐的精神为基础，跟古代文化的神秘主义
有联系，旨在宣扬文化多元主义。
几个世纪以来，犹太人一直没有自己的祖国，四处流浪，受人压迫和歧视。
犹太人常常被看成是“异化的特殊人物”，犹太小说也主要以描写异化世界为主
题。美国犹太作家也不例外。美国犹太作家常常从人道主义的观点来描写犹太人
在异化社会里的遭遇，自我的异化或自我本质的危机，反映出现实生活中犹太人
的不幸，讽刺社会的不公正，探索生活的出路和犹太人受苦受难的根源。罗思一
方面继承了美国犹太文学的传统，描写犹太人的生活和他们不幸的命运，另一方
面又公开讽刺和反对犹太文学传统，以怪诞的形象和夸张的手法来讽刺美国的社
会弊病。
里德和罗思都对其各自的文化传统进行了质疑和修正。里德以“符笃”神话
为切入口，同其他黑人文学批评家展开论战，进而构建出了他独具特色的黑人美
学思想。罗思并没有像里德那样构建出某种鲜明的美学思想，但他对犹太传统的
公开反叛无疑也暗
The pluralizing of minoritarian literature and its poetics is one of the most important features in American postmodernism. Under postmodern aura the works of many minoritarian writers have been presented to be typical postmodernist narrative, as Toni Morrison, Ishmael Reed, Maxine Hong Kingston, Grace Paley, and Philip Roth. To some extent, postmodernism has become the dynamics for minoritarian writers in their efforts of compromising to the mainstream culture. For these writers the literary heritage left by American modernism and the early postmodern writers was Euro-centered, racial and white male oriented. So in the writings of these writers, they no longer emphasize on the European cultural tradition and the political correctness in the mainstream culture. What they advocate are an open political orientation, a loving for their non-European ancestor, the pluralizing of ideologies, and the combination of their cultural tradition with the mainstream. And thus, what is revealed in their writings is postmodernist multiculturalism, which is also the literary tendency for American literature in future. So the present thesis is a study on Reed and Roth, the most typical postmodernist writers in Afro-American and Jewish-American literature. Through analyzing their relation to their respective tradition, their own aesthetic creation, their revisiting of history, their attitudes toward feminism and their meta-narrative strategy, I intend to say Reed and Roth point out a way for their fellow people facing the multicultural society, i.e., multiculturalism.
Using a spatial model, I hope to show, ultimately, how Roth and Reed try to penetrate resistant domains and go where they feel excluded psychologically and socially. Of final importance will be these questions: What are the dynamic relation for Roth and Reed between mainstream experience and their Jewish-American and African-American self? What are their relation to and position in Jewish-American and African-American aesthetic tradition? Do they build their house of fiction from outside the mainstream and their literary tradition or inside? And if from outside, how do they manage this when their relation to Jewish-American and African-American tradition and life respectively are also largely one of a rebel and existential outcast, or do they straddle a line between their outsider's sphere and the mainstream? As will become evident, defining their footings as novelists in the cultural field of American life has interesting implications for the value of the category "Jewish-American writer" and "African-American writer" when examining the ethnic writers in the multicultural American society today.
In Chapter One, "Revising the African-American and Jewish-American Aesthetic Tradition," I argue that Reed and Roth are a part of their individual tradition, but they are beyond their tradition and build their house of fictions outside of their tradition.
Reed's African American heritage is one of heterogeneous eclecticism, which favors multiculturalism. He can rely on a tradition in which folk culture dominates and which offers him historically grown syncretic structures, on which he can base his
IV
own system. Neo-Hoodoo is a system in which ideas are treated as myths; they behave like loas, the Voodoo gods quarreling for influence. Reed eliminates static abstractions and instead favors dynamic personification. As an author he favors a pantheon which reflects multiple ideas and rules which enhance multicultural communication. The main issue at stake is representation, but rather than replacing an old set of representations with a new one, Reed introduces a different mode of representation altogether. Instead of replacing the "rulers" who represent the people, he defines new rules for their interaction and tampers with the metaphysical constitution. In order to find a model for a multicultural mythology of the future, he goes back to the pagan past of Africa, Egypt and Greece, and the Haitian animism of the present. Reed's heathen "true Afro-American aesthetic"
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