摘要
“离乡—返乡—离乡”的叙事结构使《移居北方的时节》具有了后殖民悲剧的美学形态。哈塞娜的个体反抗象征着身份认同在后殖民经验冲击下的现代分裂,玛卜萝克对丈夫之死的庆祝则象征着集体性想象在传统内部的现代分裂,二者的诡异行为均表现了集体性革命的可能。然而,集体性悲剧的定局和“我”跳入尼罗河的结尾使小说陷入了后现代式的反讽,凸显了新集体性想象的困境。
Under the narrative structure of“leaving home—returning home—leaving home”,Season of Migration to the North has the aesthetic form of post-colonial tragedy.Hosna’s individual resistance symbolizes the modern division of identity under the impact of post-colonial experience.The celebration of husband’s death by Wad Rayyes’wife symbolizes the modern division of collective imagination within the tradition.The strange behaviors of the people show the possibility of a collective revolution.However,the ending of the collective tragedy and the ending of“I”jumping into the Nile river make the novel fall into a post-modern irony and highlight the predicament of the new collective imagination.
