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屈原作为民族文化源头和民间信仰化身的中国古典形象,在海外华人文学中经历了从崇拜到质疑、从解构到重建的过程,从中折射出中华文化传统在海外流失的危机和复苏的希望。上世纪70年代后,在新马华人文学中,屈原形象开始更多地作为民族文化危机和现实忧患意识的象征出现,但也有过多地基于现实功利的取向。之后,借重于屈骚传统中的自由精神、狷狂人格展开自我超越的思路,使新马作家笔下的屈原形象不断呈现新的含义,其自我质疑、自我流放、自我反省不仅走出民族悲剧的屈原传统,而且寻回了“内省”本质,获得了“屈原”言说的更大自由,海外华人文学中的屈原传统也由此得到了一种现代性的建构。
As a source of national culture and an incarnation of folk beliefs, Qu Yuan’s Chinese classical image has undergone a process of culturing and questioning from overseas Chinese literature, from deconstruction to reconstruction, reflecting the crisis of overseas Chinese cultural loss and hope of recovery. Since the 1970s, in the Chinese literature in Singapore and Malaysia, Qu Yuan’s image began to appear more as a symbol of the crisis of national culture and the awareness of the realities of hardship. However, there were too many orientations based on practical utilitarianism. After that, the self-transcendence mentality of Kui-fan personality was exploited by giving priority to the freedom spirit in the tradition of Qu’uo, so that the image of Qu Yuan presented by the novelma writer continued to show new meanings. His self-doubt, self-exile and self-reflection not only came out of Qu Yuan Tradition, but also retrieved the essence of “introspection” and obtained greater freedom of “Qu Yuan” speech. Qu Yuan’s tradition in overseas Chinese literature also got a modern construction.