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本文考察路易斯·厄德里克(Louise Erdrich)在“北达科他州四部曲”中对千面人物(the Trickster)的重构,从意识形态层面阐释主流权力话语与千面人物之间的动态关系。千面人物的多面性一直被误读为印第安文化落后的象征,厄德里克重构千面人物以颠覆主流权力话语中印第安人的模式化形象,但又摒弃族裔写作中控诉为主的创作模式,使千面人物回归家庭,这一叙事策略有助于印第安文化为更多非印第安读者接受,也体现出主流权力话语对其对立面颠覆性的有效抑制。
This article examines the reconstruction of the Trickster by Louise Erdrich in the “Four Dakota of North Dakota,” explaining at the ideological level the dynamics between mainstream power discourse and Thousand Faces relationship. The polygamy of thousands of faces has been misinterpreted as a symbol of the backwardness of Indian culture. Erdek reconstructs thousands of faces to subvert the patterned image of Indians in mainstream discourse but rejects the prosecution-oriented creation in ethnic writing Mode to return thousands of faces to the family, this narrative strategy helps Indian culture to be accepted by more non-Indian readers as well as the subversive and effective suppression of the opposite of mainstream power discourse.