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頁籤選單縮合
題 名 | Reading Postmodernism: “Border-Crossing” in «The English Patient»=解讀後現代:《英倫情人》中的跨疆越界 |
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作 者 | 黃心雅; | 書刊名 | 高雄師大學報 |
卷 期 | 11 民89.04 |
頁 次 | 頁95-110 |
分類號 | 810 |
關鍵詞 | 後現代主義; 越界; 文類; 性別越界; 後現代; 後殖民; Postmodernism; Border-crossing; Genre-crossing; Gender relationship; Postmodernity; Postcoloniality; |
語 文 | 英文(English) |
中文摘要 | 告別二十世紀,我們已面臨一個以CNN和BBC,麥當勞和7-11,瑪丹娜和MTV,喬丹和NBA為共同參考座標的國際社會。而《英倫情人》(The English Patient)一部榮獲九二年英國「讀書人獎」(Booker Prize)的精彩小說,正體現了此種後現代「越界」(border-crossing)的文化。小說作者麥可安達吉(Michael Ondaatje)是個出生於斯里蘭卡的印度人,有荷蘭和英國的血統,求學於英國,定居加拿大。有趣的是,小說改編的電影,其製作人和導演和安達吉一樣,擁有英語世界不甚熟悉的姓。如同小說主角所言,我們都是「國際雜種」("international bastards")。 本論文旨在探討後現代文學生產的跨疆越界。借用惠森(Andreas Huyssen)、杭奇思(Linda Hutcheon)和克納(Steven Connor)等人的後現代論述中「越界」觀念,解讀小說《英倫情人》中的「後現代」(postmodernity)。從小說中文類、性別和國別的跨越,本文最終體現後現代的史本、自我和國家疆界的流動。而其流動的疆界,創造了另類的敘述,突破典律瓦解帝國殖民文化的宰制。 |
英文摘要 | At the turn of the century, postmodernism has become the most used/abused term in literary and cultural studies. Given all the confusion and vagueness associated with the term itself , postmodernists from Andreas Huyssen to Linda Hutcheon disclose "border-crossing" as the most fundamental concept of postmodernism. This concept reflects the important contemporary debate about the margins and boundaries and delineates a typically postmodern transgressing of previously accepted limits: those of artistic and social conventions. The notion of "border-crossing" is, therefore, useful in that it calls the traditional consensus into question. By straddling the borderline, indeed, postmodernism blurs the imperious frontier of the logos and unveils the arbitrariness of the phallogocentric categorization which has dominated Western culture for centuries. The present paper is an application of the concept of "border-crossing" to the reading of The English Patient, Michael Ondaatje's 1992 Booker Prize-winning novel. It begins with a critical revisiting of postmodernism in an attempt to identify and define the concept of "border-crossing," the dominant thought of the postmodern cultural enterprise. The analysis then centers around interrogating the borders between literary genres, between fiction and non-fiction and, by extension, between art and life. Furthermore, reading the novel in the light of this postmodern concept also confounds the traditional, fixed masculine identity and discloses the sexual politics of the novel. While its adapted movie, directed by Anthony Minghella, pivots around an erotic triangle among almasy, Katharine, and Geoffrey, the novel stresses the symbiotic union between the English patient and Hana, and between Hana and Kip. In this symbiotic relationship, not only the notion of self identity but also that of national identity is questioned. The paper finally examines the imagery of the desert, which is the site for questioning the consolidation of national boundaries as well as national identity is questioned. The paper finally examines the imagery of the desert, which is the site for questioning the consolidation of national boundaries as well as national identity. After all the delineations of border-crossings in the novel, the paper will eventually suggest a paradigm for interpreting conte-mporary literature: from identification of postmodern thoughts to a fruitful reading of the postmodern text. |
本系統中英文摘要資訊取自各篇刊載內容。