j·s·勒·法努《熟悉的人》中的盎格鲁-爱尔兰再现与后殖民话语

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2022-03-15 DOI:10.1080/08905495.2022.2054619
Richard Jorge Fernández
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引用次数: 0

摘要

后殖民和哥特文学中的支配关系与自我与他者之间的斗争相伴而生,包含了隐藏在看似二元和简单的拉锯战背后的不同问题。这种对立反映在哥特文学中对自我与他人的二分法的描绘上。在这样的描绘中,主角通常代表自我,而他者则是“那个世界上的其他一切”(Day 1985, 19)。从这个角度来看,哥特文学将构成一种对身份(无论是个人身份还是共有身份)如何形成的检验。殖民哥特式运用了自我和他者的概念,然而,将其置于殖民者-被殖民者的二分法之下;这对角色有双重影响,他们首先被视为怪物,然后与被殖民的主体联系在一起。然而,刚刚暴露的这种二元关系在爱尔兰的情况下更加复杂,也许更好的理解是“作为一个三角形,其中两个顶点是固定的——天主教徒/爱尔兰人和英国人——而第三个顶点,盎格鲁-爱尔兰人的顶点,在一个克里奥尔化的过程中,他们既是受害者又是加害人,逐渐从英国人转移到爱尔兰人的位置”(Jorge 2019, 71)。弗兰纳里(Flannery, 2013)等其他批评家认为,“爱尔兰的殖民主义历史需要后殖民和哥特的结合”(96)。通过对上下文的考察,并与他早期的作品《珀塞尔论文》(1850)进行比较,本文展示了j.s.勒法努在《黑暗的玻璃》(1872)中是如何运用叙事结构和人物塑造的,正如《熟悉的人》中所表现的那样。这一分析将揭示他的短篇小说是如何表现盎格鲁-爱尔兰阶级作为殖民者的这种中间状态,而不是同时促进天主教和新教社区之间的文化融合,试图创造一个共同的爱尔兰身份。
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Anglo-Irish representations and postcolonial discourse in J. S. Le Fanu’s “The familiar”
Relations of dominance in postcolonial and Gothic literatures are concomitant to the struggle between self and other, encompassing the different issues hidden behind a seemingly binary and simplistic tug of war. This antagonism is reflected in how the dichotomy self versus other is portrayed in Gothic literature. In such depictions, protagonists usually represent the self, while the other is “everything else in that world” (Day 1985, 19). Seen this way, Gothic literature would constitute an examination of how identities, both individual and shared, are formed. Colonial Gothic deploys this concept of self and other, placing it, however, under the dichotomy colonizer–colonized; this has a twofold effect on characters, who are first perceived as the monstrous other and then linked to the colonized subject. This binary relation just exposed is further complicated in the Irish case, however, which is, perhaps, better realized “as a triangle in which two of its vertices are fixed – Catholics/Irish and English – while the third vertex, that of the Anglo-Irish, gradually shifts positions from the English to the Irish one, following a creolization process in which they are both victims and victimizers” (Jorge 2019, 71). Other critics, among them Flannery (2013), have expressed their views that “the histories of colonialism in Ireland demand combined postcolonial and Gothic readings” (96). Through an examination of the context and by drawing a comparison to his earlier work The Purcell Papers (1850), the present essay demonstrates how J. S. Le Fanu deploys narrative construction and characterization in his In a Glass Darkly (1872) short narratives as represented in “The Familiar.” This analysis will unveil how his short ficitonsrepresent this in-between state of the Anglo-Irish class as colonizers but not quite while simultaneously fostering a cultural blending between the Catholic and the Protestant communities in an attempt to create a shared Irish identity.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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