《所罗门之歌》的文化干预策略

The Strategies of Cultural Intervention in Song of Solomon

本文聚焦《所罗门之歌》中的麦肯、鲁丝、派拉特和奶娃,认为这些主要人物之间既相互关联又彼此独立,形成莫里森苦心孤诣建构的政治图景。小说中的黑人女性主动示弱,从某种意义上提升了女性的家庭话语权,从而超越传统女性主义范式。布鲁斯音乐中的召唤—应答、火车意象等审美想象,抵制了白人价值观同化他者的强大威力,成为黑人族群与主流话语系统分庭抗礼的有效手段。同时,作品在"浸润叙事"中揭示出宏大历史所蕴含的权力关系和意识形态,呼吁少数族裔回归民族文化之根,以此摆脱边缘化地位、获取主体身份。通过以上文化干预策略,莫里森实现了文本政治性和诗性紧密结合的创作理想。

： This paper analyzes the complicated relationships among four main characters in Toni Morrison＇ s Song of Solomon to show the strategies she employs as a writer to construct her political paradigm. In this novel, female characters tactically mani- fest weakness to empower their voice within the family, thereby rewriting traditional femi- nism to a certain extent. Black aesthetics embodied by the call-and-response technique and locomotive images in the blues music enable Morrison to question the mainstream val- ue system and disrupt the assimilating white discourses. She also resorts to immersion narratives to reveal the structure of power and ideology underlying grand histories, calling for ethnic groups＇ return to their national roots to gain subjectivity and achieve social demarginalization. Through these strategies of cultural intervention, Song of Solomon realizes Morrison＇ s dream of unifying politics and poetics in literature.