威廉·福克纳种族观研究及其他

**部分 种族主题研究
一、概述及述评 ································································· 003
Ⅰ. “极辉煌之失败”：黑人群体表征之“抛物线”架构 ··········· 003
希望开端 ·································································· 004
急剧初升 ·································································· 006
心理飞跃 ·································································· 008
达至巅峰 ·································································· 010
冰期滑坡 ·································································· 012
Ⅱ. 一言难尽：“黑人观”批评史 ········································· 015
欧美白人批评 ···························································· 015
美国黑人批评 ···························································· 019
国内批评 ·································································· 020
批评史及现状简评 ······················································ 021
二、创作背景：充满张力的种族三角——黑人、南方与艺术家 ····· 024
Ⅰ. 黑人：种族及美学关注的中心 ······································· 025
Ⅱ. 南方：动荡不安的中心 ················································ 028
Ⅲ. 作家：艺术创造的中心 ················································ 030
三、种族主题阐释 ······························································ 033
Ⅰ. 希望开端 ·································································· 033
《军饷》：摸“黑”前进 ················································ 034
《坟墓里的旗帜》：约克纳帕塔法世系“门槛”上的黑人 ······ 044
《曾有过这样一位女王》：初遇混血儿 ······························ 054
Ⅱ. 急剧初升 ·································································· 062
《喧哗与骚动》：被赋予中心视觉的黑人家庭 ····················· 063
《夕阳》：绝望的南希——种族、性别剥削的双重受害者 ······ 092
《殉葬》：环境及印第安奴隶制的受害者 ··························· 097
Ⅲ. 心理飞跃 ·································································· 105
《八月之光》：对“种族混杂情结”的**次系统解谜 ········· 106
《干旱的九月》：对歇斯底里的“白人女性崇拜”的
戏剧性表征 ······························································· 128
《圣殿》：对作为“观念的黑色”的戏剧化表征 ··························· 131
《埃莉》与《山上的胜利》：对“血统之谜”的戏剧化延展 ············ 137
Ⅳ. 达至巅峰 ············································································ 142
《押沙龙，押沙龙！》：黑人的“百科全书” ································ 143
《去吧，摩西》：黑人的“人权宣言” ······································· 161
Ⅴ. 冰期滑坡 ············································································ 171
《未被征服者》：老邦联游戏的重演 ·········································· 174
《坟墓的闯入者》与《修女安魂曲》：被神话的“暴君”
与神秘化的“修女” ···························································· 179
《掠夺者》：跌落地面 ···························································· 186
四、成也伟大，败也辉煌：黑人角色塑造之不足 ································· 192
Ⅰ. 刻板形象 ············································································ 192
Ⅱ. 文本介入 ············································································ 197
Ⅲ. 种族内部现实之忽略 ····························································· 201
第二部分 其他研究
一、文化研究 ·············································································· 207
Ⅰ. 《我弥留之际》：艾迪·本德伦的“漩涡式”礼葬 ···························· 207
Ⅱ. 《八月之光》：乔·克里斯默斯的魔咒空间 ·································· 215
Ⅲ. 《去吧，摩西》：乌托邦欲望的审美释放 ··································· 225
IV. 《押沙龙，押沙龙！》：历史与文本的互动·································· 235
V. 《喧哗与骚动》：斯坦纳阐释学视角下的中译本翻译补偿 ·············· 244
二、跨界研究 ·············································································· 253
Ⅰ. 穿越时空的对话：福克纳与后/印象主义画派的跨界姻缘 ··············· 255
Ⅱ. 福克纳小说创作对后/印象主义画派技巧的借鉴 ··························· 266
Ⅲ. 神品·诡风·妙构：《我弥留之际》的印象主义文体及
结构特征解析 ······································································ 277
参考文献 ···················································································· 288
索引 ·························································································· 303