从爱伦·坡的《山鲁佐德的一千零第二个故事》看美国的阿拉伯传奇

IF 0.1 4区 文学 0 LITERATURE, AMERICAN
Matthew H. Pangborn
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引用次数: 3

摘要

1845年2月被证明是时装界沉闷的一个月,《高迪杂志》和《淑女书》决定放弃通常的最新设计插图。然而,它确实提供了一个女人在争吵后被丈夫勒死的故事。由于妻子的名字是谢赫拉扎德,而作者的名字是埃德加·爱伦·坡,所以这本杂志的时尚女性读者不太可能担心自己最可怕的噩梦成真了。然而,如果说《山鲁佐德的一千零第二个故事》处理的话题不像真实的谋杀案那样耸人听闻,它确实探讨了公众同样强烈的焦虑,这种焦虑源于19世纪40年代美国东方主义达到顶峰的现象。最近的阅读,尤其是坡的《丽姬亚》和《衣衫褴褛的山的故事》,研究了作者对东方话语的参与,这种话语被证明比那个时期人们通常认为的仅仅是逃避现实或日常智慧的表达要复杂得多根据这些研究,东方学允许其参与者参与“一种强大的、殖民的、国家认同,这种认同将这个国家与启蒙运动后欧美文化的种族中心主义联系在一起。”然而,对爱伦·坡的《山鲁佐德》的研究中,没有人评论过作者是如何利用话语对国家身份的中心神话进行精心的双重恶搞的,也没有人研究过作者是如何决定通过一个被暴力勒死的女性叙述者来吸引大部分女性读者的但是,如果坡的故事追溯了东方故事在为欧洲裔美国人构建安全的国内空间的话语尝试中的作用,那么它也计算了欧洲裔美国人及其他人为这种构建所付出的代价。爱伦·坡的叙述者从一开始就断言,他的故事中真实多于快乐——一个关于欧洲裔美国人的真相,而不是“东方人”——但他也希望他的读者会觉得这个真相太痛苦而无法相信坡的故事是近东和印度民间故事《一千零一夜》的后记,《一千零一夜》通过安托万·加朗的法语译本(1704 - 1717)传入西方,但很快就被格鲁布街的文人翻译成英语。山鲁佐德,最早的民间故事
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Arabian Romance of America in Poe’s “Thousand-and-Second Tale of Scheherazade”
February 1845 proving a dull month for fashion, Godey’s Magazine and Lady’s Book decided to forego its usual illustrations of the latest designs. It did offer, however, the account of a woman strangled to death by her husband after an argument over a bustle. As the wife’s name was Scheherazade and the author’s Edgar Allan Poe, it is unlikely any of the magazine’s fashionable female readers feared their own worst nightmares had been realized. Yet if “The Thousand-and-Second Tale of Scheherazade” treats a topic less sensationalistic than an actual murder, it does explore public anxieties just as powerful, ones arising in the phenomenon of orientalism reaching its peak in the United States in the 1840s. Recent readings, especially of Poe’s “Ligeia” and “A Tale of the Ragged Mountains,” have examined the author’s engagement with an oriental discourse that has proven more complicated than the mere escapism or expression of everyday wisdom it was often taken to be during the period.1 According to such studies, orientalism allowed its participants to partake of “a powerful, colonial, national identity, one which linked the country with the ethnocentrism of post-Enlightenment Euroamerican culture.”2 No study of Poe’s “Scheherazade,” however, has commented on the author’s use of the discourse to mount an elaborate double parody of that national identity’s central myth, and none has studied the author’s decision to address a largely female readership through a woman narrator who is violently garroted.3 But if Poe’s story tracks the enlistment of the oriental tale in discursive attempts to construct a safe domestic space for European Americans, it also calculates the cost of that construction for both European Americans and their others. Poe’s narrator asserts from the start that there is more truth than pleasure to his tale—a truth about European Americans, not “orientals”—but it is a truth he also expects his audience will find too painful to believe.4 Poe’s story takes the form of an epilogue to the Near Eastern and Indian folktales of The Thousand and One Nights, which was introduced to the West through Antoine Galland’s French translation (1704–17) but quickly brought out in English by Grub Street hacks. Scheherazade, the original folktales’
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