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>The trickster aesthetic. Narrative strategy and cultural identity in the works of three contemporary United States women writers: Maxine Hong Kingston, Louise Erdrich, and Toni Morrison.
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The trickster aesthetic. Narrative strategy and cultural identity in the works of three contemporary United States women writers: Maxine Hong Kingston, Louise Erdrich, and Toni Morrison.
Tricksters, who dwell on borders, at crossroads, and between worlds, prominently appear in recent novels by three contemporary American women of color. Maxine Hong Kingston's Woman Warrior and Tripmaster Monkey, Toni Morrison's Tar Baby and Song of Solomon, and Louise Erdrich's Love Medicine and Tracks all focus on trickster characters, and incorporate trickster-like elements in their narrative form. While Erdrich, Kingston, and Morrison obviously draw on distinct cultural and historical traditions (Nanabozho, the Monkey King, and Br'er Rabbit share few particularities), the three writers work from a common cultural and historical context--the interconnected, diverse, and often conflicting worlds of contemporary America. For each writer, the trickster embodies the rich paradoxes of inhabiting interconnecting worlds.; My concept of a "trickster aesthetic" links cultural identity and narrative strategy: the trickster's historical roots in social and political engagement, together with his fluidity of form and transgression of boundaries, create a flexible, dynamic, culturally grounded model for reading the novels of the contemporary ethnic American women writers upon whom I concentrate. Combining a postmodern awareness of disjunction, multiplicity, and paradox with a strong folk heritage, the trickster provides a way of laughing at damaging stereotypes and celebrating culture and community. Moreover, the trickster's humor, polyvalence, and multivocality suggest a valuable mode for interaction, on a textual and a personal level, in an increasingly multicultural world.; For the ethnic American women writers in this study, the trickster aesthetic provides a way into cultural specificity, while at the same time allowing a means of escape from essentializing definitions. Precisely because he cannot be pinned down to any one form, shape, or position, and because he continually disrupts the status quo with laughter, jokes, and outrage, the trickster embodies an expansive, dynamic cultural identity rather than a reductive, static one. The resurgence of the trickster on the contemporary literary landscape, and especially in novels by women of color, surely speaks for the figure's importance not only to theme but to stylistic innovation in the contemporary ethnic novel.
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机译：居住在边界，十字路口以及世界之间的骗子在三本当代美国有色女性中最近出现在小说中。 Maxine Hong Kingston的《女战士和旅行大师猴子》，Toni Morrison的《 Tar Baby》和《所罗门之歌》以及Louise Erdrich的《 Love Medicine and Tracks》都着重于骗子角色，并在其叙述形式中融入了类似骗子的元素。尽管埃德里希，金斯敦和莫里森显然借鉴了截然不同的文化和历史传统（纳纳博佐，孙悟空和小白兔几乎没有什么特殊性），但三位作家都是在共同的文化和历史背景下工作的-相互联系，多种多样，并经常与当代美国冲突。对于每位作家而言，骗子都体现了居住在相互联系的世界中的丰富悖论。我的“骗子美学”概念将文化身份和叙事策略联系在一起：骗子在社会和政治参与中的历史根源，以及他的形式的流动性和边界的超越，为阅读小说提供了灵活，动态，基于文化的模型我关注的当代美国黑人女性作家。骗子将后现代的分离，多样性和悖论意识与浓厚的民间传统相结合，提供了一种嘲笑破坏性刻板印象和庆祝文化与社区的方式。此外，骗子的幽默，多变和多声暗示了在日益多元的文化世界中，在文本和个人层面上互动的一种有价值的模式。对于本研究中的美国黑人女性作家而言，骗子美学为文化特殊性提供了一种途径，同时又为摆脱定义的本质提供了一种手段。正是由于他不能被束缚在任何一种形式，形状或位置上，并且因为他不断地以笑声，笑话和暴行来破坏现状，所以骗子体现了一种广泛的，动态的文化身份，而不是一种还原性的，静态的身份。骗子在当代文学界，特别是在有色女人的小说中的复兴，无疑表明了这个人物不仅对主题的重要性，而且对当代民族小说的风格创新也很重要。
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