本文首先通过回顾印度英语文学与批评,强调其在短暂的发展历程中获得了世界文学界的认可.从《午夜的孩子》中使用的"加泥"意象与策略出发,本文进而认为印度英语文学整体上具有"加泥化"印度、欧美甚至其他地区的语言、文学体裁与文化、旨在颠覆西方文学的殖民主义的谱系特征.正是这一去东方主义的创作策略,使得印度英语文学向具有东方主义、精英主义渊源的传统世界文学发起挑战,成为"英语书写的世界文学"的典型.

伦理是印度英语作家阿迪加·阿拉文德小说中不可或缺的主题.本文沿着主人公"父性缺失和回归"这条伦理线索,分析和审视《白虎》中印度父性缺失的社会根源、父性缺失下的心理缺陷以及父性回归的伦理意义,指出小说家对文学教诲功能回归的期待与对和谐伦理秩序理想社会的向往.

评论家大都认为,流散作家维克拉姆·塞斯在其旅行写作《从天池出发》中彰显了全球主义的主题.但是,若从塞斯在写作该书时的流散经历与书中所宣泄的负面情绪来看,《从天池出发》揭示了迁徙位移本身给流散者造成的严重心理问题,而塞斯在佛教空性哲学指引下的情绪转化为罹患心理疾病的流散者提供一种疗愈的可能性.

在批评家看来,汤婷婷通过《第五安乐之书》支持美国20世纪下半叶的反战和平运动.本文认为,这一作品并不是一部传递反战和平思想的政治宣言,而是通过汤婷婷本人和越战老兵的经历演绎一种源于东方的、释一行禅师所宣说的“正念”佛教哲学,旨在为那些寻求和平反战的美国人提供心理慰藉:内心的安乐无需苦苦追寻,可以通过正念来获得,即保持对当下有意识、无分别的觉知.同时,正念也为遭遇1991年奥克兰大火灾和饱受“创伤后应激障碍”(PTSD)摧残的人们疗愈心理伤痛,帮助他们找到蕴藏于人生每一步的安乐.

印度小说家阿迪加的代表作《白虎》记录了印度底层农村青年巴尔拉姆在向代表着工业、商业和新兴产业资本主义经济的城市迁徙和生活过程中走向堕落的故事以及物质主义等价值观对其原本虔诚、勤奋等农业文明价值观的破坏.然而,从人口城市化的角度来看,底层农民的堕落归根到底还是源于印度城乡发展的不平衡.

Rushdian critics argue that Salman Rushdie’s fictions borrow from The Arabian Nights its narrative strategies. This paper, however, contends that Rushdie develops the "Scheherazade and Shahryar" pattern, a dialogue pattern between narrator/character and narratee/character, creating the multi-hierarchy communication between various types of narrators and narratees. It investigates the patterns of narrative communication in Rushdie’s fictions, namely "expectation and fulfillment", "complaint and assurance" and "question and answer", demonstrating that the communication performs such rhetorical functions as suspense creation, order adjustment, generalization and evaluation, and thus addresses the politics of multifarious historical narratives.

Code appropriation marks a difference between Indian English writing and Indian literature in indigenous languages,and equips the Indian English writers with a means to "abrogate" Standard English and its essentialist poetics.To analyze Rushdie's linguistic strategies of "appropriation" and "abrogation",this paper borrows the code theory from sociolinguistics to illuminate the Indian English poetics in Salman Rushdie's novels from three aspects,namely,"lexical borrowing","code-mixing" and "code-switching".Rushdie's Indian English poetics reiterates his desires to cross the borders between Standard English and Indian languages,"abrogate" the cultural hegemony of Standard English,and highlight the uniqueness of Indian variety of English.

国内外评论界给予印度裔女作家基兰·德赛的小说<失落的传承>一致赞誉,但也暴露出观点笼统、重复与脱离文本等问题,忽略了小说对印度普通人的人性与情感关怀.从阿根廷诗人博尔赫斯的小诗"宁静的自得"中获得灵感的德赛通过主人公赛伊传达了自己"叹息"印度普通人内心的"贪婪"和印度局势的纷乱,"渴念"那种"款款而行"的安宁生活.本文认为,虽然德赛小资产阶级的身份使其渴念的印度生活模式具有乌托邦嫌疑,但德赛对印度普通人情感和命运的忧虑却情意真切.

萨尔曼·拉什迪的《午夜的孩子》呈现了两条"成长"线索——主人公个人成长与民族成长。但是,这并不意味着《午》仅仅是一部"成长小说"或"民族寓言"。拉什迪用"隐喻"和"实际"的方法连接个人成长史与民族发展史,使个人成长史与印巴民族史、个人叙事与官方叙事的界限变得模糊。本文将从成长小说天真——考验——成熟的故事结构出发,考察拉什迪小说中的个人成长与印度和巴基斯坦独立——动乱——觉醒历史的因果关系,并揭示这种"关联模式"背后的文化政治。

The play Fefu and Her Friends is widely recognized as the cornerstone of modern American feminist play,wherein the complementary relationship between its content and form constituted by the play's plot and techniques lead to Fornes' unique feminist play creation strategy.The article claims that plays conduct feminist political criticism by the combination of plays' plot and its dialogue,background,acoustic effect and performance.While Fefu's feminist consciousness undergoes three stages-mimicry,revelation,and recognization,Fornes employs three strategies-mimicry of male tradition,revelation of female's plight,recognization of female self-to foreground the change in consciousness as a female member of American middle class.The article is to probe on how Fornes develops her play creation strategies by combining female characters' mental track with her unique play creation techniques.

米格尔街>是奈保尔早期的一部试笔之作,虽语言和技法都稍显稚嫩,但仍称得上一部不错的短篇小说集.其简洁明快的语言中充满着机智和幽默,人物形象的刻画虽然稍显夸张,但依然可以传达出特立尼达殖民地下层百姓生活的悲欢.文章主要分析了其中一些人物的形象和这些形象产生的原因.