摘要
本文以“语言游戏”理论来检验儿童文学的话语形态,揭示其中“童年性”与“成年性”的交互作用。儿童文学通常被标志成“为儿童而写”,然而在儿童文学的话语势力位阶上,成人却总高于儿童。在儿童文学中关于儿童的文化想象反映出成人对儿童的一种殖民,这使得“语言游戏的童年”向“话语禁忌的童年”陷落。本文以《小红帽》和《彼得.潘》为例,探讨儿童文学童年话语禁忌的一些历史成因,认为儿童文学在这方面显示出一种强烈的乌托邦主义,长此以往,它导致了一些严重的情况,如“伪善”被“理想”合法化以及“秘密”成了“遮蔽”的工具。儿童文学若要充分谋求“语言”和“游戏”的实践,就必须走出这种困境。
The paper examines the discourse formation of children＇s literature with the “wordplay” theory, disclosing the interaction of “childishness” and “adultness” therein. Children＇s literature is usually claimed as “writing for children”, but adults seem always higher than children in the discourse hierarchy. The imagination of kids＇ culture in children＇s literature reflects adults＇ colonization to children, which results in the downgrade from “word-playing childhood” to “discourse-tabooing childhood”. This paper, taking Little Red Riding Hood and Peter Pan as examples, explores how childhood discourse taboos are formed historically in children＇ s literature, arguing that children＇s literature reveals a strong tendency of utopianism in this respect, which has resulted in serious situations, e. g. , “hypocrisy” is legalized in the guise of “ideal”, and “secret” becomes the tool of “furtive”. Children＇s literature can never completely seek its own “language” and “play” unless it successfully gets out of this cage.
出处
《浙江师范大学学报（社会科学版）》
2005年第6期30-35,共6页
Journal of Zhejiang Normal University(Social Sciences)
关键词
儿童文学
童年
语言游戏
话语禁忌
殖民
乌托邦主义
Children＇s Literature
Childhood
Word Play
Discourse Taboo
Colonization
Utopianism
