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《父亲的法则》是著名黑人作家理查德·赖特创作的最后一部小说。本文旨在以《父亲的法则》作为一个视点反观赖特作品小说体系,来分析赖特所著的长篇小说的书名间的关联性,以及这部小说在赖特整体研究中的学术价值。首先,本文立足于辨析《父亲的法则》书名中高度隐含的多声部的对话性的语义结构——黑人父亲的在场性、法则对主体的社会约束性和种族间的生存法则的时效性。其次,阐释赖特小说整体在命名形式上的链状关系,即一个书写和定义黑人男性在美国文化伦理范式中从儿子-男小-父亲的艰难历程的书名转义链。因此,赖特的小说自成一体,相互呼应,如同一曲反复段奏的布鲁斯,在主旋律上差异性地复唱着不同时期黑人男性所面临的困惑与抉择。
The “Father’s Law” is the last novel by the famous black writer Richard Wright. The purpose of this essay is to analyze the relationship between Wright’s novels’ titles and the academic value of the novel in Wright’s overall study, using “Father’s Law” as a point of view to review Wright’s novel system. First of all, based on the semantic structure of dialogues between the highly implicit polyphony in the title of “Father’s Law” - the presence of black fathers, the limitation of statute on the subject’s social binding and inter-racial survival laws Sex. Secondly, it explains the chain relationship of Wright’s novels as a whole in the form of naming, that is, a title chain that describes and describes the hard journey of black men from son to boy to father in American cultural ethics paradigm. Therefore, Wright’s novels are self-contained and echo each other, as Bruce, who plays the same piece repeatedly, vocalizes the puzzles and choices confronting black men of different periods in the main melody.