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在当今日趋全球化和文化融合的时代,着意于把东方“他者”静态化和落后化并将其与理智、先进、优越的欧美对立起来的东方主义已变得越加难以维持,然而东方主义的顽固性和伸缩性依然不容忽视。本文旨在从华裔美国作家张璨芳的《爱的疆界》和旅英大陆作家、导演郭小橹的《恋人版汉英词典》这两部爱情小说来解构被固化的东方“他者”。两部作品时隔半个世纪,故事的背景分别设在二战时期的上海和当今英国伦敦,但两者都展现了在都市文化边界地交织着的心理和外部分界、跨界的东西文化相遇。透过文化边界地的理论视角,本文展示出一个反东西文化二分制的变换、多元、摇摆不定的边界地自我主体,进而揭示东西文化相撞中反东方主义的文化建构。
In today’s era of globalization and cultural integration, orientalism aimed at staticizing and lagging the East and “alienating” the East and opposing it with the rational, advanced and superior Europe and the United States has become even more difficult to sustain. However, the intransigence and flexibility of Orientalism can not be ignored. The purpose of this paper is to deconstruct the “East” of the “Other” from two love novels, the Chinese American writer Zhang Canfang’s “Boundary of Love” and the British writer and director Guo Xiaoyan’s “Lovers Edition Chinese-English Dictionary”. After half a century between the two works, the background of the story is set in Shanghai in World War II and London in today. However, both of them show the psychological and external demarcation and cross-border encounters between eastern and western cultures intertwined in urban cultural boundaries. Through the theoretical perspective of cultural boundaries, this paper presents a transformative, pluralistic and oscillating boundary body of self against the dichotomy of Eastern and Western cultures, which reveals the cultural construction of anti-Orientalism in the collision between Eastern and Western cultures.