论《苦妓回忆录》的异托邦叙事

On the Heterotopian Narrative in Gabriel Garcia Marquez's Memories of My Melancholy Whores

福柯异托邦三种类型的空间理论思考,在哥伦比亚作家加西亚·马尔克斯的《苦妓回忆录》中具有丰富的蕴含:妓院为偏离异托邦,接纳并包容社会边缘人,为他们提供庇护以及自我认同的机会;家宅为危机异托邦,同时兼具圣地和禁地的空间属性,成为危机主人的心灵避难所,也成为落魄家族最后的体面;而“我”的自传式写作则具有镜式异托邦的意义,在自我书写中直面童年创伤与老年焦虑,使抽象空间话语挑战并突破了主流线性叙事。马尔克斯在《苦妓回忆录》中的异托邦叙事体现了他的空间思考以及对生命之爱的坚定信念。

Gabriel Garcia Marquez's novel Memories of My Melancholy Whores provides a rich depiction of Michel Foucault's three types of heterotopian spaces.The brothel exemplifies the heterotopia of deviation and serves as a space that accommo-dates and integrates individuals from the fringes of society,providing them with a sense of sanctuary and self-affirmation.On the other hand,the house is a heterotopia of crisis,functioning as both a sacred and prohibited space,and serving as a refuge for the protag-onist's psychological turmoil and the final vestiges of a deteriorating family's dignity.Moreover,the first-person autobiographical narrative constitutes a mirror heterotopia,as it confronts childhood traumas and the anxieties of old age,challenging and transcending conventional linear storytelling methods.Through his portrayal of these heterotopian narratives in Memories of My Melancholy Whores,Marquez provides a unique perspective on spatial theory and conveys his enduring conviction about the power of love.