摘要
V．S．奈保尔书写的《河湾》蕴含了丰富的视觉文化，如民族主义领袖的肖像摄影、全家福、个人生活照及旅游风景照。本文从民族主义领袖肖像照的在场和观看的政治张力来分析非洲本土知识分子、非洲当地农民对国家和民族的认同。另外，《河湾》中的视觉文化含义折射了全球化背景下第三世界的移民和西方游客等对无根的世界主义（ rootless cosmopolitanism ）的认同和试图弱化民族一国家的企图。总之，小说文本中的视觉文化和非洲的民族主义与世界主义有着紧密的联系。
A Bend in tbe River written by V. S. Naipaul is rich in the visual cultural connotation： the portraiture of the leader of nationalists, family photos, personal photos and landscape photos. This essay attempts to analyze the linkage between nationalism, cosmopolitanism and visual cultures. The essay begins with the discussion on Naipaul＇s multiple national identifies and his rootless cosmopolitanism, and then continues to explore the identification of nation- state by the African elitists, local peasants. Besides, the visual cultures reflect the rootless cosmopolitanism identified by the immigrants and privileged travelers who try to weaken the national consciousness. In short, A Bend in the River reveals that nationalism and cosmopofitanism are closely related to visual culture.
出处
《文学理论前沿》
CSSCI
2017年第1期30-49,共20页
Frontiers of Literary Theory
基金
本文是教育部哲学社会科学重大课题攻关项目【131ZD032】的阶段性成果
关键词
视觉文化
肖像照
民族主义
世界主义
《河湾》
visual culture
portraiture
nationalism
cosmopolitanism
A Bend in the Riner
