摘要
2018年诺贝尔文学奖得主奥尔加·托卡尔丘克借用魔幻现实主义流派的诸多技巧,可被置于加西亚·马尔克斯、莫言等构成的魔幻现实主义谱系中,但托氏的叙事特质拓展了魔幻现实主义叙述的可能性。与马尔克斯和莫言等作家相比,托卡尔丘克更彻底地使用了破碎时空叙事,其笔下的超自然之物不是简单的社会历史隐喻,而是具有主体性,能够主动思考并探寻存在的意义。此外,托卡尔丘克倡导万物平等,具有浓厚的后人类中心主义精神,她的奇幻叙事手法则使读者始终在不同本体性质的世界之间游移,从而模糊了它们与现实世界的界限。托卡尔丘克超越了主要作为历史隐喻和象征的经典魔幻现实主义叙述,将魔幻和现实置于同一平面,体现了她对宇宙万物的温柔关怀以及万物互联的后人类中心思想。
Olga Tokarczuk, winner of the 2018 Nobel Prize for Literature,borrows many techniques from former laureates in the genealogy of magical realism,such as García Márquez and Mo Yan. Tokarczuk’s narrative also extends the narrative possibilities of magical realism. Unlike Márquez and Mo Yan, who merely disrupt the narrative order of time and space, Tokarczuk shatters it into pieces without destroying the integrity of her stories. Supernatural entities in her novels are given the ability to think and to actively pursue the meaning of their own existence. She is also future-oriented, advocating an equality of all things and opposing anthropocentrism. Her fantastic narration leaves readers wandering in worlds of different ontologies, confusing them with the readers’ reality. Her narrative of magical realism, by transcending historical metaphor and symbolism, and by putting magical and realistic elements on the same plane, reflects her urgent concern for all natural entities and her post-anthropocentric beliefs in their interconnectedness.
作者
唐伟胜
陶思敏
Tang Weisheng;Tao Simin(Center for Narratology Studies,Jiangxi Normal University,Nanchang,China,330022;Foreign Language College,Jiangxi Normal University,Nanchang,China,330022)
出处
《当代外国文学》
CSSCI
北大核心
2022年第2期87-94,共8页
Contemporary Foreign Literature
基金
江西省高校人文社会科学研究2020年度项目“奥尔加·托卡尔丘克的‘温柔叙述’研究”(WGW20101)
2021年度江西省研究生创新基金项目“魔幻现实主义谱系中的托卡尔丘克研究”(YJS2021079)阶段成果。
关键词
魔幻现实主义
碎片化叙事
超自然之物
历史神话互文
奇幻叙事
magical realism
fragmented narrative
supernatural entities
historic and mythic intertextualization
fantasy
