文学中的新教传教士

IF 0.2 4区 文学 0 LITERATURE
C. Davis
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引用次数: 0

摘要

新教跨文化传教士作为文学叙事中的人物出现了近200年。这些叙述使用了三种模式。第一部分,展示了在神的干预下虔诚的传教士,包括对哈德森·泰勒、吉姆·埃利奥特和唐·理查森等传教士的非虚构描述。第二种模式,将传教士描绘成正统的狂热分子,包括Brontë的《简·爱》、毛姆的《雨》和金索沃的《毒木圣经》。第三种模式,在后殖民小说中很常见,用矛盾和幽默来描绘传教士,包括巴赫金的“狂欢”元素:滑稽怪诞的意象、淫秽和宴会。这个后殖民时期的传教士角色代表的不是压迫而是自由,出现在阿南德的《不可触及》、阿切比的《分崩离析》和巴尔加斯·略萨的《说书人》等小说中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Protestant Missionaries in Literature
Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque imagery, obscenities, and feasts. This postcolonial missionary character represents not oppression but freedom and appears in such novels as Anand’s Untouchable, Achebe’s Things Fall Apart, and Vargas Llosa’s The Storyteller.
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CiteScore
0.10
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11
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