性别、种族、身份的对位书写——从《米立:中国童话》到《K》

Counterpoint Writing of Gender,Race and Identity :From Mi Li: A Chinese Fairy Tale to K

纵观东西方文学史,从18世纪霍勒斯·沃普尔的《米立:中国童话》直至晚近以来虹影的《K》等7部作品,我们发现了一条隐秘的"对位书写"链条。《米立:中国童话》虚构了一位中国王子和落难的英国小姐之间的故事,小说通过性别、种族和身份元素来建构东西方文化关系的叙事模式,在《蝴蝶夫人》《西贡小姐》和《情人》中得到了延续。但与前者不同的是,殖民时代的西方作家在种族、性别和身份的重设中颠覆了沃普尔时代的文化倾向,作品中的东西方关系架构隐含有宗主国的强势文化逻辑,作品具有显著的东方主义色彩。与此相对,20世纪末期的《蝴蝶君》《扶桑》和《K》则反映了具有东方背景的作家与西方作家进行对话并重新建构东西方文化关系的的创作意图。从《米立:中国童话》到《K》,东西方文化的二元对立关系经历着被刻意书写和有意解构的过程,彼此形成了"对位书写"的关系,体现了殖民主义思潮和后殖民主义思潮在文学中的再现,最终指向的是权力话语的争夺,包含了作者曲折而复杂的创作动机。

In the history of eastern and western literature, there is a secretive counterpoint writing chain that deserves our attention. Mili： A Chinese Fairy Tale figured a story between a powerful Chinese prince and an England girl in trouble. Walpole originates a kind of narrative tradition, which regards the gender, race and identity as the important ele- ments in building the relationship between eastern culture and western culture. The tradition is also widely employed in the literary works such as Madam Butterfly, Miss Saigon and L＇amant in the 19~ century. However, the three novels reverse Walpole＇s cultural orienta- tion by exhibiting racial discrimination. Nevertheless, M. Butterfly, The Lost Daughter of Happiness and K express their dissatisfaction with racial discrimination in the western people＇s minds. These seven works from Mili： A Chinese fairy tale to K fully improve this narrative tradition, in which main elements such as the gender, race and identity are fre- quently used and developed in different eras, among them.