《宠儿》中魔幻现实主义与黑人文化的整合(英文)

Abstract: The Nobel Prize winner of 1993 Beloved is written by Toni Morrison. She creates a brand-new writing skill which fuses magical realism with black culture in the novel. Beloved shows the readers a tragic picture of African-American in the past hundreds year by telling a ghost story. Toni Morrison makes great use of her artistic writing skills of magical realism to uncover the theme. This novel has reader introduced to shocking events and reveals in explicit details the horrors of slavery. This paper attempts to discuss how Morrison managed in fusing the Latin-rooted magical realism with the black culture and the function of this writing style by meticulously selecting many fresh examples.

     Key words: Magical realism; Black culture; Fusion

     摘 要：莫里森在其长篇小说《宠儿》中创造了一种全新的写作风格，她把魔幻现实主义同黑人的文化做了巧妙的整合。通过一个鬼的故事，莫里森把几百年来美国黑人受到压迫与屈辱的悲惨画面展现在了读者面前。在故事的主干部分，她运用了魔幻现实主义的文学技巧来表现主题。小说讲述了一个骇人听闻的故事，使读者真实的体会到了奴隶制度的残酷。本文的作者试图通过举例等方法来论述莫里森是如何将带有拉美色彩的魔幻主义与黑人文化完美结合的及其这种手法对全书的作用与意义。 
     关键词: 魔幻现实主义；黑人文化；整合

Introduction      
Beloved is a novel written by Toni Morrison. It is about the tragic adversity of American black people before the abolishment of the slavery. The novel reflects a course of a ghost’s revenge and her desire to seek maternal love with a unique motif. Beloved won Nobel Prize in 1993 and is regarded as Morrison’s best work by many people.
The novel examines the destructive legacy of slavery. It narrates the life of a black woman named Sethe from her pre-civil war life as a slave in Kentucky to her ghost-haunting life in Cincinnati, Ohio.
Sethe, a beautiful and strong-minded female slave, escaped from Sweet Home in Kentucky with her children to find refuge in Cincinnati where her mother-in-low, Baby Suggs, lived ( Sethe’s two sons and one daughter had been here in advance and she gave birth to her fourth child Denver during her escape). Twenty eight days later, her owner “schoolteacher” pursued her here. In order to prevent her children from re-experiencing the life she had suffered a lot, Sethe cut her daughter’s throat with a handsaw and named her “Beloved” when buried. Beloved began to retaliate. The spirit of Beloved had been haunting her mother’s home at 124 Bluestone Road for more than 18 years. The spirit of “Beloved” caused Sethe’s two sons to run away, and this quickened Baby Suggs’ death. By 1873 Sethe and her daughter Denver were the ghost’s only victims. One day, Paul D, the last man of the Sweet Home came to 124 Bluestone Road. After Paul D whipped the tables around and everything was rock quiet. The spirit left the house and Paul D and Sethe cohabited. Then, the ghost took the form of a twenty-year-old woman (the same age Beloved would have been if she had lived) named Beloved and kept asking for Sethe’s love. In order to possess Sethe’s love completely, she drove Paul D away by seducing him sexually. Sethe wasted away everything she had and lost her job just to prove her love to Beloved, which promoted Denver to go out of the gate for help. Beloved never felt satisfied with the love that Sethe gave her. At last, Sethe could no longer stand the sufferings Beloved brought to her. It was grown Denver and townsmen who helped her get rid of Beloved and begin to face the new life.

1  Concept of magical realism
In recent years, literary researchers have been increasingly interested in a writing technique called magical realism and any works relating to it. However, many people have not caught the meaning of this technical term, and even if, a large part of them does not know the origin of magical realism, thereby resulting in many unnecessary misunderstandings.
1. 1 Origin of magical realism
The term originated in Europe during the 1920's, in the writings of the German art historian Franz Roh who presented magic realism as a reaction to expressionism, and independently in the Italian journal Novecento, edited by writer and critic Massimo Bontempelli. It was adopted during the 1940's by Latin American authors who combined the theories of Roh and Bontempelli with French surrealist concepts of the marvelous, and incorporated indigenous mythologies within traditional mimetic conventions in their quest for the original Latin American novel [1]. The term in its present sense was first applied to Latin American literature from the 1960s, with Gabriel Garcia Marquez’s novel One Hundred Years of Solitude generally being regarded as paradigmatic of the mode. Starting in the 1980s, the concept of magical realism began to be more broadly used in discussing postcolonial literatures. Up to the present, there has been a strong current of magic realism within the general movement of post-modernism, especially in British and North American literature.转贴于 酷文网-论文下载中心 http://www.coolwen.net