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本文主要探讨当代美国印第安作家厄德里克在《爱药》中对印第安文艺复兴中的归家模式的继承与改写。在20世纪60～70年代的印第安文艺复兴时期,印第安作家普遍遵循莫马迪在《黎明之屋》中所创立的归家模式,叙述脱离部族群体的印第安人如何返回故乡、在祖先土地上参与部族典仪、重构印第安文化身份。厄德里克在《爱药》中并未刻板沿袭这一模式,而是描绘了一种跨越文化边界的身份寻求,展示当代印第安人如何在印第安文化与主流文化的冲突与妥协之中重塑自我,跨越印第安和白人社会,以新的身份回归故乡。厄德里克以此传达了对本土与白人文化杂糅的认可,发展了印第安文学中的归家模式。
This paper mainly discusses the inheritance and rewriting of contemporary American Indian writer Erdrich in the “Love Medicine” on the home-from-home model in the Indian Renaissance. During the Indian Renaissance from the 1960s and 1970s, Indian writers generally followed the home-based pattern created by Momadi in The Dawn House, describing how Indians disassociated from tribal communities returned to their homeland to participate in ancestral lands Tribal Code, Reconstruction of Indian Cultural Identity. Instead of following this pattern rigidly in Love Medicine, Erdrich paints a search for identity across cultural boundaries that demonstrates how contemporary Indians can reinvent themselves in the midst of conflict and compromise between Indian and mainstream cultures , Across Indian and white communities, returning home with a new identity. Erdrich thus conveyed his acceptance of the hybridization of native and white cultures and developed a pattern of returning home in Indian literature.