摘要
作为一种文化实践,美国戏剧是美国现代化进程的见证者和参与者。“美国戏剧之父”威廉·邓拉普的收官之作《尼亚加拉之行》通过活动全景展示,创造性地呈现美国早期工业化时期现代、新颖的社会及观念事实。作品以哈德逊河、尼亚加拉瀑布、伊利运河等表征国家身份、民族记忆的自然景观和人造工程为全景展示主题,象征性地把美国东部与西部地区联结起来,进而在时空维度上实现整体、统一国家意识的想象性建构。作品聚焦“运河时代”最具现代性标志的机械交通工具——蒸汽机船,再现航运新时代身体移动引发的性别、阶层、族裔社会空间移动,揭示了崛起中的美利坚民族国家认同建构过程中盎格鲁-撒克逊裔的主体地位,书写了美国早期现代性的丰富内涵。
Being a cultural practice,American drama has been a witness and participant of American modernity as a stage of history.A Trip to Niagara,the last play by William Dunlap,Father of American Drama,employs the technique of moving panorama to represent modernity and newness of the time.The play thematically displays the natural landscapes and man-made constructions like the Hudson River,the Niagara Falls and the Erie Canal as icons of national identity and memories in a way to unite symbolically the western and eastern areas of America into one.Meanwhile,the play dramatizes steamboats as a modern mechanical transport conducive to mobility concerning sex,class,and ethnicity in the Canal Age,during which the Anglo-Saxons remain dominant in constructing America's national identity,thus staging the richness of early American modernity in its ownway.
作者
贺安芳
He Anfang(College of Science and Technology,Ningbo University,Ningbo,Zhejiang Province,China)
出处
《外国文学》
北大核心
2023年第6期154-165,共12页
Foreign Literature
基金
国家社科基金一般项目“早期美国戏剧中的美利坚民族国家认同研究”(20BWW045)。
