古典形象的海外言说——新马华人作家笔下的屈原形象

New Interpretations of the Classic Image:Qu Yuan in Overseas Chinese Writings of Singapore and Malaysia

屈原作为民族文化源头和民间信仰化身的中国古典形象，在海外华人文学中经历了从崇拜到质疑、从解构到重建的过程，从中折射出中华文化传统在海外流失的危机和复苏的希望。上世纪70年代后，在新马华人文学中，屈原形象开始更多地作为民族文化危机和现实忧患意识的象征出现，但也有过多地基于现实功利的取向。之后，借重于屈骚传统中的自由精神、狷狂人格展开自我超越的思路，使新马作家笔下的屈原形象不断呈现新的含义，其自我质疑、自我流放、自我反省不仅走出民族悲剧的屈原传统，而且寻回了“内省”本质，获得了“屈原”言说的更大自由，海外华人文学中的屈原传统也由此得到了一种现代性的建构。

Qu Yuan is a Chinese classic image of our national culture, as well as an incarnation of folk faith. This image has experienced from worship to query, from deconstruction to reconstruction in overseas Chinese literatures, which reflects the lost crisis and reviving hope of Chinese cultural tradition abroad. After the 1970＇s, the image shew itself more as a symbol of cultural crisis and realistic worries in Chinese literatures of Singapore and Malaysia, yet it was much oriented to realistic utilitarianism. Subsequently, based on the free spirit and unrestrained personality in Qu Yuan and in the tradition of Li Sao, these writers surpass themselves and make the image abundant with new signifi- cances. The traditional figure of self - query, of self - exile, and self - criticism, not only passes beyond the tradition of national tragedy, but also retrieves the essence of self - examination. Thus, these writers have obtained more freedom to interpret ＂Qu Yuan＂, and the tradition of Qu Yuan in oversea Chinese literatures has been reconstructed with modernity.