摘要
本文考察路易斯·厄德里克(Louise Erdrich)在"北达科他州四部曲"中对千面人物(the Trickster)的重构,从意识形态层面阐释主流权力话语与千面人物之间的动态关系。千面人物的多面性一直被误读为印第安文化落后的象征,厄德里克重构千面人物以颠覆主流权力话语中印第安人的模式化形象,但又摒弃族裔写作中控诉为主的创作模式,使千面人物回归家庭,这一叙事策略有助于印第安文化为更多非印第安读者接受,也体现出主流权力话语对其对立面颠覆性的有效抑制。
The ambiguous nature of the Trickster has long been misinterpreted as the proof of the primitiveness of American Indian culture.Erdrich＇s reconstruction of the Trickster subverts the stereotypes of Native Americans in the mainstream narrative and brings the＂ostracized＂trouble-makers back to their family and community.In so doing,she makes Native American culture more acceptable to non-Native people,and therefore makes its entry into the mainstream.
出处
《当代外国文学》
CSSCI
北大核心
2010年第4期100-108,共9页
Contemporary Foreign Literature
