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西藏作为一种独特的文学想象和诗性建构,在汉族作家的笔下,在不同的文本中显现出不同的面孔,阐释和表达本身就产生西藏的形象和意义:西藏是一种对生命憩园和情感故乡的追寻;西藏是一种空间性的参与因素,是作者表达历史意识的不可或缺的要素;西藏是动态的施动意义的救赎力量。当然,作为异质文化者的作家对于西藏的表达不可避免也会表现出疑惑与困境:马丽华表现出一种情感与理智之间难以调和的文化困境;马原用独特的叙事方式试图摆脱面对异于自己的西藏文化时不知如何表达的尴尬,暴露了他的叙事之中的潜在裂缝。
Tibet, as a unique imaginative and poetic construct, shows different faces in different texts in the writings of Han nationality writers. Its interpretation and expression itself produces the image and significance of Tibet: Tibet is a place for life and recreation And the pursuit of the emotional hometown. Tibet is a kind of spatial participation factor, an indispensable element of the author’s expression of historical consciousness. Tibet is a dynamic acting salvation power. Of course, writers of heterogeneous cultures will inevitably show doubts and dilemmas about Tibet: Malihua shows a cultural predicament difficult to reconcile between emotion and reason; and Ma Yuan tries to get rid of the face by using unique narrative methods The awkwardness that I do not know how to express my own Tibetan culture has exposed the potential cracks in his narrative.