互文性与文化融合——张爱玲的《魂归离恨天》与艾米莉的《呼啸山庄》之互文性

Intertextuality and Cultural Assimilation——Studies of Zhang Ai-ling’s Hun Gui Li Hen Tian and Emily Brontё’s Wuthering Heights

19世纪的英国女作家艾米莉·勃朗特的《呼啸山庄》被评论家认为堪与莎士比亚的《李尔王》相媲关，可见其艺术造诣之深。而20世纪的中国也有一部戏剧版的《呼啸山庄》，那就是张爱玲的剧本《魂归离恨天》。《呼啸山庄》与《魂归离恨天》这两部作品虽然体裁不同，但在其题名、叙事手法、故事模式、意象、语言风格等方面存在着诸多的互文关系。张爱玲与艾米莉的文本所呈现的互文关系，不仅仅是文学创作上的模仿与借鉴，同时也彰显了两位女作家在个性气质上的趋同。张爱玲对艾米莉有着长久的仰慕，从而，她在文学实践中对艾米莉的模仿借鉴就成为一种自觉的文学体认。《呼啸山庄》与《魂归离恨天》两个文本呈现出的互文关系，昭示了中英异质文化的碰撞与融合。

Emily Bronte＇s Wuthering Heights in the 19th century was reviewed by some critics as King Lear in British literature, which shows the high artistic achievement of the novel. The play Hun Gui Li Hen Tian by Zhang Ai-ling is regarded as Wuthering Heights in China. There are many intertextual relationships between the two works, including titles, narrative skills, plots, images and so on despite the fact that they belong to different literary styles. The intertextuality between the two literary texts not only exhibits the artistic imitation and reference with each other, but also reflects the similarity in personality and temperament between the two women writers. Zhang Ai-liug shows her admiration for Emily, which naturally led to her conscious hterary activities of imitation of and reference from Emily. This intertextuality reveals the interaction and assimilation between different cultures of Britain and China.