美国主流文学与黑人民族文化艺术精华的融合_评莫里森_宠儿_的艺术手法

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美国文学题_答案

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代末期,各类版本的文选选集要么对黑人女作家的作品闭口不谈,要么就对像佐拉?尼尔?赫斯顿(Z ora Neale Hur2 ston这样的黑人女性文学史上重要的先驱轻描淡写,几笔带过。即使大多数当代的女权主义文学批评对黑人女性作品的关注也不够。“由于黑人女批评家和作家意识到白人男性和女性,黑人男性都在将自己的经验作为标准而视黑人妇女的经验为异端,这就促成了黑人女权主义批评的诞 生。”[1](P3561974年在美国文学界发生了两大标志性的事件。一是《黑人世界》(Black W orld特刊上发表了朱恩?乔丹(June Jor2 dan和玛丽?海伦?华盛顿(Mary Helen Washington的文章,封面登有佐拉?尼尔?赫斯顿的照片;另一件是爱丽斯? 沃克(Alice Walker的《寻找我们母亲的花园》(In Search of Our M other s’G ardens在MS杂志上的发表。这两件事为黑人女权主义批评的蓬勃发展拉开了序幕。芭芭拉?史密斯、奥吉?劳德、爱丽斯?沃克、芭芭拉?克里斯汀等代表人物从不同的侧面,系统地研究并阐述了黑人女权主义批评理论。 黑人女权主义批评最重要的代表人物之一芭芭拉?史密斯(Barbara Smith在《黑人女性主义批评的萌芽》(T oward a Black Feminist Criticism开篇便指出,没有一个黑人女权主义批评角度,黑人女性作品不但会被误读,长此以往,这些作品终将被毁掉。黑人女权主义批评方法必须承认这样一个前提:在黑人女性作品中,性政治以及种族、阶级的政治是相互交织、密不可分的。其次,黑人女权主义批评家应致力于探求黑人女性作品没有体现的与黑人女性身份未曾感受到的性与种族的政治。再次,女权主义文学批评必须承认黑人妇女悠长的历史,还应旨在发掘黑人女作家的“不同”。史密斯强调黑人女权主义批评理论的立足点应是“自治”但不是“隔离”;应该是和各种女性主义理论的对话和结合。她通过对大量的黑人女作家作品的分析,揭示了她们在文本、主题、意象等方面形成的不同于白人、男性作家的共性, [收稿日期]2003-09-17 [基金项目]吉林省哲学社会科学规划研究资助项目(2003088 [作者简介]修树新(1969-,女,吉林德惠人,东北师范大学外语学院讲师,妇女研究中心成员,硕士,从事英美文学研究。

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