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Haunting the tradition of the novel: Generic double play in diasporic fiction.

机译：困扰着小说的传统：流放小说中的双重戏剧。

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摘要

Haunting the Tradition of the Novel: Generic Double Play in Diasporic Fiction grows out of an interest in current theories of colonial and post-colonial discourse, especially the work of Edward Said, Gayatri Spivak and Homi Bhabha, as well as in global mass migrations and the resulting mixture of cultures that has contributed to the dynamism of new literatures in English. The dilemma for minority literature written under the hegemony of Western culture lies in conflictual impulses around the problem of representation: how to represent the subaltern through generic conventions of the novel that are inevitably implicated in a history of racial and cultural oppression. The dissertation traces this dilemma to the origins of the English novel in the colonial scene of early European modernity, and views the question of representation as a function of literary genealogy and of literary institutions operating without a clear center of authority. It discusses a particular feature--"generic doubles"--in diasporic fiction that plays with novelistic convention in subtle acts of repetition subverted by the specter of difference.;More specifically, the project explores generic doubles in four diasporic novelists: Timothy Mo, George Lamming, Hualing Nieh and Salman Rushdie. Mo's "realist" novels The Monkey King and Sour Sweet are read into the tradition of the eighteenth century novel, amid the generic expectations of the Bildungsroman, adventure tales and the providential romance and their ideological implications within European modernity, thereby resulting in a kind of cultural aporia between tradition and assimilation, between European "originality" and Third World belatedness. Lamming's The Emigrants is read as an engagement with the vernacular feature in the tradition of the novel. The rise of English vernacular in the eighteenth-century is both democratic in appeal and nationalist in its political construction, a split all the more obvious when inherited by diasporic writers like Lamming who introduces Black dialects into the novel and problematizes its language-constructed, racialized subjectivity. The novel as a cultural product of European modernity is interrogated by the Chinese diasporic woman writer Hualing Nieh in Mulberry and Peach, which, through post-modern schizophrenic linguistic play, explores the juncture between patriarchy and modernity that splits the Chinese woman's psyche. The excitement and danger of generic double play are attested to by Salman Rushdie's Satanic Verses as the epitome of migrant, diasporic fiction. Rushdie's text consciously mixes styles and genres, and turns both realism and (post)modernism into objects for representation in an attempt to evoke the anti-systemic forces of the migrant communities whose voices are all too easily appropriated in the postmodern age of media manipulation. Turned into a media event itself, however, the text also shows the limitations and the danger in appropriating European avant-garde forms and postmodern techniques. Thus, while the dissertation argues for generic double play as a post-colonial strategy of subversion within the double bind of Caliban's appropriation of Prospero's language, the play itself needs to maintain a supplementary space haunted by the other.
机译：困扰小说的传统：流浪小说中的一般双重戏剧，是出于对当前殖民和后殖民话语理论的兴趣，尤其是爱德华·赛义德，加亚特里·斯皮瓦克和霍米·巴巴的作品，以及全球大规模移民和由此产生的文化融合为英语新文学的发展注入了活力。在西方文化霸权下书写的少数族裔文学的困境在于围绕代表问题的冲动：如何通过小说的通俗惯例来代表次要人物，这不可避免地牵涉到种族和文化压迫的历史中。论文将这一困境追溯到欧洲近代早期殖民时期英国小说的起源，并将代表性问题视为文学家谱和没有明确权威机构运作的文学机构的作用。它讨论了流放型小说中的一个特殊特征“泛型双打”，该小说与小说的惯例在由差异的幽灵颠覆的微妙重复中起着小说的作用。；更具体地说，该项目探索了四位流散型小说家的泛型双打： George Lamming，Hualing Nieh和Salman Rushdie。莫（Mo）的“现实主义”小说《孙悟空》和《酸甜的》被读入十八世纪小说的传统中，这是由于对毕尔登斯罗曼（Bildungsroman）的普遍期望，冒险故事以及天意浪漫以及它们在欧洲现代性中的意识形态影响，从而产生了一种传统与同化之间，欧洲“原始性”与第三世界迟来之间的文化空洞。拉明的《移民》被认为是小说传统中带有本土特色的作品。在18世纪，英语本土化的兴起既具有吸引力，又具有民族主义色彩，在政治结构上更为明显。当拉明这样的流浪作家继承该小说时，这种分裂就更加明显了，后者将黑方言引入小说中，并使语言构造，种族化成为问题。主观性。这本小说是欧洲现代文化的产物，受到中国流浪女作家华林·倪（Huling Nieh）在《桑树和桃子》中的审讯，该小说通过后现代精神分裂症的语言戏剧，探索了父权制与现代性之间的交界处，这分裂了中国女性的心理。萨尔曼·拉什迪（Salman Rushdie）的《撒旦诗》（Satanic Verses）证明了泛型双重玩法的兴奋和危险是移民，流放小说的缩影。拉什迪（Rushdie）的文本有意识地将样式和体裁混合在一起，并将现实主义和（后）现代主义转化为代表的对象，以唤起移民社区的反系统力量，他们的声音在后现代的媒体操纵时代太容易被采纳。然而，文本本身变成了媒体事件，也显示了使用欧洲前卫形式和后现代技术的局限性和危险性。因此，尽管论文主张在卡利班（Caliban）占用普洛斯彼罗（Prospero）语言的双重约束下，通用双重戏剧是一种后殖民的颠覆策略，但戏剧本身需要维持一个被他人困扰的补充空间。

著录项

  • 作者

    He, Shan Qiang.;

  • 作者单位

    Simon Fraser University (Canada).;

  • 授予单位 Simon Fraser University (Canada).;
  • 学科 Literature Modern.;Literature English.;Literature Caribbean.;Literature Asian.
  • 学位 Ph.D.
  • 年度 1995
  • 页码 241 p.
  • 总页数 241
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 能源与动力工程;
  • 关键词

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