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今天,在有关法语后殖民文学的批判和理论话语中,经常援引混杂性、交汇、克里奥尔化,乃至诸说混合。过去那些主张抵制、拒斥、争论或回应的范式如今让位于主张协商和跨文化对话的各种范式。印度洋更为突出的特点是由来已久的人口迁移、跨文化碰撞、克里奥尔语等语言的创设以及混杂文化。对印度洋文学的解读也重新定向,不再限于在过去的殖民地与其宗主国之间关系的框架内考虑,而是越来越在印度洋框架内考虑。作者以不同的文学作品为例,认为印度洋文学拷问了地点以及如何处于其中、形形色色的人口迁移、与其他世界的关系及与相邻或相隔的海洋的关系。文学似乎充当了海洋运动和永远的来来往往的换喻。克里奥尔岛就像一根缆绳,使所有旅行,所有偏航,所有遗憾与希望,所有与自我、与他人、与同类、与历史、与记忆、与迷宫般的遗产的关系调整均是可能的。
Today, in the critical and theoretical discourse about post-colonial French literature, there is often a cite of mixed, mixed, creole, and even mixed. Past paradigms of resistance, rejection, argument, or response now give way to paradigms that advocate negotiation and intercultural dialogue. The more prominent features of the Indian Ocean are the long-established population movements, cross-cultural clashes, the creation of languages such as Creole and mixed cultures. Interpretation of Indian Ocean literature has also been redirected and is no longer limited to considerations within the framework of the relationship between the colonies and their sovereign nations in the past, but increasingly within the framework of the Indian Ocean. Taking different literary works as an example, the author thinks that Indian literature interrogates the location and how it is located, the various kinds of population migration, the relations with other worlds and the relations with adjacent or separated oceans. Literature seems to act as a metaphor for the movement of the sea and its eternal come and go. The island of Creole is like a cable that aligns all travel, all yawning, all regret and hope, all relationships with self, others, with fellow humans, with history, with memory, and maze-like inheritance possible.