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中国形象在当代美国华裔女作家汤亭亭的小说中频频亮相。她的中国形象书写,在体现历史真实性的同时,也体现了作家创作的文学虚构性。这种真实和虚构相互作用从而萌发一种文学张力,增添了文本的吸引力,也展现了一种高超的创作艺术。本文从伊瑟尔的文学虚构理论出发,通过分析乐府《木兰诗》和汤亭亭《女勇士》中的第二章《白虎山学道》中两种木兰形象同为传统和叛逆的矛盾集合体的本质特征,试图从文学张力出发来探讨中西木兰形象的异同,从而发现汤版木兰是中国木兰形象的意义升华。
The image of China appeared frequently in the novels of contemporary Chinese American writer Maxine Hong Kingston. Her Chinese image writing embodies the authenticity of history as well as the fictionality of literature created by writers. This real and fictional interaction thus spawned a literary tension, adding to the appeal of the text, as well as displaying a superb creative art. This article starts from Issel’s literature fictionalism theory. By analyzing the two magnolia images in the second chapter of “The Woman of the Mountain” in the Yuefu “Mulan Poems” In order to explore the similarities and differences between Chinese and Western Magnolias from the literary tensions, so as to find out that the magnificent version of Magnolias is a sublimation of the Chinese magnolia image.