- 期刊
格特鲁德．斯坦因的美学与政治复合矩阵下的“中国”
The Constructed Image of "China" in Gertrude Stein's Composite Matrix of Aesthetics and Politics
摘要
格特鲁德．斯坦因是20世纪具有代表性和争议性的现代主义作家，她创造性地使用了诸多标新立异的实验写作方式，其中尤为值得关注的是她对中国元素的“挪用”。斯坦因有关中国素材的作品中多次出现一个双关语interest，正是出于“利益”考虑，斯坦因对遥远的东方国度产生了“兴趣”，将中国形象进行系统性加工，用以支撑和建构她的美学与政治复合矩阵。从《每个人的自传》到她在美国演讲的文稿，再到她未发表的手稿，斯坦因作品里的“中国”始终是基于她的想象，而非真实的中国。尽管斯坦因在她的美学与政治复合矩阵中着力强调了自我身份认同的东方成分，但她始终将自己置于西方集体幻想之中，忽视真实中国语境的文化与政治表达。斯坦因笔下的“中国”是她所谓“东方和平渗透”思想的建构资源，是她表达文学观念、宣传美国政治的新型媒介。
並列摘要
Gertrude Stein is a representative and controversial modernist writer of the 20th century, who has creatively used multiple innovative and experimental writing styles, among which her "appropriation" of Chinese elements is particularly noteworthy. The pun "interest" appears many times in Stein's works involving Chinese elements, and it is out of "interest" that Stein became "interested" in the Far Eastern country, systematically processing the image of "China" to support and construct her aesthetic-political matrix. From her work Everybody's Autobiography, to the texts of her speeches in the United States, and to her unpublished manuscripts, "China" in Stein's complex matrix is always based on her imagination rather than the real China. Although Stein emphasizes the oriental components of her self-identity in this matrix, she always places herself in the Western fantasy, ignoring the cultural and political expressions of the real Chinese context. Stein's "China" is a constructive resource for her so-called "peaceful penetration of the Orient" and a new medium for her to express her literary concepts and propagandize American politics.