作　　者： ;

机构地区： 华南师范大学外国语言文化学院

出　　处： 《华南师范大学学报（社会科学版）》 2022年第3期184-192,208,共10页

摘　　要： 多和田叶子在《献灯使》中避开了“地震”“核灾难”等字眼,通过描述生态灾难,从反面证明了人与自然和谐共处的重要性,从而使这部作品成为普遍意义上的“后灾难文学”,同时也属于生态文学的一个次范畴。《献灯使》改变了“环境决定身体”这一单向度的生态文学传统叙事模式,构筑了“环境叙事中的身体”和“身体意识中的环境”这一组新意象。身体与环境不再是被割裂的二元,而是共同构成了相互作用的有机整体。主人公无名对自身和自然的认知,打破了身体与环境的从属关系,使身体意识具备了超越生态危机的无限可能性。《献灯使》开辟了通过身体意识进行环境叙事的生态文学的新路径。 In The Emissary,Yoko Tawada avoided words such as“earthquake”and“nuclear disaster”so that this work is no longer limited to the narrow vision of“post-Fukushima Era”but becomes universal“post-disaster literature”.It belongs to a subcategory of ecological literature.By describing ecological disasters,it proves the importance of harmonious coexistence between man and nature.In The Emissary,Yoko Tawada changes the traditional narrative mode of ecological literature in which the environment determines the body and constructs a group of new images of“body in environmental narration”and“environment in body consciousness”.The body and the environment are no longer separated into two but together constitute an interactive organic whole.The protagonist's cognition of himself and nature breaks the subordinate relationship between the body and the environment and makes the body consciousness have the infinite possibility to surpass the ecological crisis.The Emissary opens up a new path of ecological literature that carries out environmental narration through body consciousness.

关 键 词： 多和田叶子 献灯使 生态文学 身体意识 环境叙事

领　　域： [文学—世界文学]