扬·马特尔《少年派的奇幻漂流》中的东方主义与再东方主义

IF 0.2 0 LITERATURE
Jiang Yuqin
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引用次数: 1

摘要

扬·马特尔在《少年派的奇幻漂流》中表达了他的东方主义,描述了少年派的再东方主义。马特尔的东方主义呈现出典型的后殖民写作模式,建构了一种后殖民的异国情调。派的重新东方主义反映了一个流散的东方男孩在西方的欲望和身份。派和孟加拉虎的生存故事隐喻了派成长为一个真正的西方人。马特尔利用作者的笔记、作者对主人公派的采访等文本,为日本人调查真相进行记录,并插入主人公派的叙述中,暴露了潜在文化霸权的隐藏意图。理查德·帕克的离开代表了派的最终顺从西方文化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Orientalism and Re-Orientalism in Yann Martel’s Life of Pi
Yann Martel expresses his Orientalism and describes Pi’s Re-Orientalism in Life of Pi. Martel’s Orientalism presents the typical postcolonial writing model, which constructs a postcolonial exotic. Pi’s Re-Orientalism reflects a diasporic Eastern boy’s desire and identity in the West. The survival story for Pi and the Bengal tiger is a metaphor for Pi to grow up to be a true western man. Martel uses paratexts such as the author’s note, author’s interview with the protagonist Pi, records for a Japanese investigation on the truth, and inserts into the protagonist Pi’s narration, which expose the hidden intention for latent cultural hegemony. The departure of Richard Parker represents Pi’s final conforming to Western culture.
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Interlitteraria
Interlitteraria LITERATURE-
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