Transnationalism in Contemporary Post-Soviet North American Literature

IF 0.1 3区 文学 0 LITERATURE
A. Katsnelson
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引用次数: 0

Abstract

Abstract:This article argues that there are two major strains of transnationalism in works by Russian-speaking North American writers David Bezmozgis, Ellen Litman, and Gary Shteyngart. Bezmozgis and Litman focus on localism, and their short story collections Natasha (2003) and The Last Chicken in America: A Novel in Stories (2007) are set in specific North American immigrant neighborhoods: Bathurst Street and Steeles Avenue in Toronto for Natasha, and the Squirrel Hill neighborhood of Pittsburgh in Little Chicken. These stories describe the deterritorialization of Russian culture and the spread of Russian corruption abroad through a focus on immigrants and their visitors. Bezmozgis’s and Litman’s characters are prevented from going back to former Soviet Republics by their intense dislike of the moral corruption in their former homeland. In Absurdistan (2006), by contrast, Shteyngart depicts a transnational, multicultural, and morally ambivalent world in which his protagonists travel between Russia and the United States, bringing US American culture and consumerist artifacts to Russia.
当代后苏联北美文学中的跨国主义
摘要:本文认为,北美俄语作家David Bezmozgis、Ellen Litman和Gary Shteyngart的作品中存在两种主要的跨国主义倾向。贝兹莫吉斯和利特曼关注地方主义,他们的短篇小说集《娜塔莎》(2003)和《美国最后一只鸡:故事中的小说》(2007)都以特定的北美移民社区为背景:《娜塔莎》中的多伦多巴瑟斯特街和斯蒂尔斯大道,《小鸡》中的匹兹堡松鼠山社区。这些故事通过关注移民和他们的访客,描述了俄罗斯文化的非领土化,以及俄罗斯腐败在海外的蔓延。贝兹莫吉斯和利特曼笔下的人物因对故土道德败坏的强烈厌恶而无法回到前苏联共和国。相比之下,在《荒诞》(2006)中,施特因加特描绘了一个跨国的、多元文化的、道德矛盾的世界,他的主人公在俄罗斯和美国之间旅行,把美国文化和消费主义艺术品带到俄罗斯。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.20
自引率
0.00%
发文量
17
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