论西方音乐文化与“黄皮肤的俄耳甫斯”的矛盾共生关系——以《饥饿》与《手势人生》为例

An Ambivalent Symbiosis Between Western Musical Culture and Yellow Orpheus in Lan Samantha Chang’s Hunger and Chang-Rae Lee’s A Gesture Life

西方音乐文化往往以西洋乐器为重要载体,亚裔美国音乐人也常被称作"黄皮肤的俄耳甫斯"。西方音乐文化与"黄皮肤的俄耳甫斯"二者相互依赖、相互塑造,存在着明显的共生关系。这种共生关系也充满了复杂性、矛盾性与脆弱性。张岚《饥饿》中的华裔音乐人宋天试图通过小提琴来建构自己全新的主体性,最终被证明只是"伪音叉主体"。李昌来《手势人生》中的韩裔爱乐人黑旗时蕗试图借助钢琴来建构自己合法的、被认可的"美国人"身份,同样被证明是虚假的"手势主体"。

Western musical culture is often embodied by western instruments,while musical Asian Americans are often called"yellow Orpheus".Replying on and shaping each other,they tend to have an ambivalent symbiotic relationship.The former finds in the latter a new opportunity to expand itself,while the latter finds in the former an important means to construct their subjectivities.Paradoxically,such a symbiosis is also characterized by complexity,ambivalence,and fragility.In Lan Samantha Chang’s Hunger,Tian Sung,the Chinese American violinist attempts to construct a new subjectivity for himself by means of the violin,only proving to be a"pseudo-diapason-subject".In Chang-rae Lee’s A Gesture Life,Jiro Kurohata,the Korean American music lover resorts to the piano for the construction of his legitimate,recognized"Americanness",also proving to be a false"gesture subject".However,with their efforts to probe into the depth of their souls,both protagonists do make attempts to complete a spiritual journey.