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从文化全球化视角解读南非著名剧作家阿索尔·富加德的剧作《哈罗德主人与男孩》,富加德在剧中将个人成长经历有机融入南非殖民历史的叙事之中,通过展现黑人山姆与白人哈罗德父子般的心灵交汇,力图消弥南非黑白族群长久以来的冲突与分歧。依据约翰·汤姆林森在《全球化与文化》中阐述的“脱域”、“去边界化”以及“混杂化”这三大全球化特征来分析是什么经验使剧中人跨越种族隔离的藩篱,实现互相认同,并为南非后种族隔离时代提供一个新的族群认同愿景。
From the perspective of cultural globalization, the play of Harold’s master and boy, the famous playwright of South Africa, is explained. In the play, Fogad integrates personal growth into the narrative of colonial history in South Africa. Sam and White Harold father and son-like heart meet, trying to make up for the long-standing conflicts and differences between African black and white ethnic groups. Based on John Tomlinson’s “Globalization and Culture” elaborated in “Globalization”, “De-boundaryization” and “Hybridization” The Chinese cross their lines of apartheid to achieve mutual recognition and provide a new vision of ethnic identity for the post-apartheid era in South Africa.