描述
开 本: 32开纸 张: 胶版纸包 装: 平装-胶订是否套装: 否国际标准书号ISBN: 9787519216399
编辑推荐
本书对温顿小说从征服自然到重构人与自然的关系，再到回归荒野的内在逻辑和思想体系进行了深入的探讨，体现了一定的独特见解，具有一定的学术水平，对相关领域的学者、研究人员具有一定的参考价值。
内容简介
生态主题是温顿创作的重要元素，体现了作家本人为代表的当代澳大利亚白人对这片土地、海洋及栖息于此万物的全方位的爱恋和生态关怀。宏观上看，作家的生态哲思遵循着征服、重构和回归的轨迹。文本中揭示了白人罔顾澳洲的自然条件恣意掠夺其资源，结果造成了土地退化、资源枯竭、生态破坏，以及人自身的异化和精神生态失衡。薇尔·普拉姆伍德有关西方文化二元论的理论为诠释这种征服心态提供了有力支持。温顿作品中凸显重构新型人与自然脐带关系的努力，这种努力生动地体现了阿尔贝特·施韦泽的”敬畏生命”、 奥尔多·利奥波德的”大地伦理”以及澳大利亚土著文化中的”关爱大地”等生态智慧。回归荒野成为温顿作品中主人公摆脱危机、净化心灵、实现和解的不二选择。这种回归使人物获得顿悟、救赎和活力，并感受到他们的个人及民族身份与澳洲大陆血肉相连，最终有利于实现人与自然和谐共生的生态理想。
目 录
Introduction
Chapter Ⅰ Conquest of Nature
1.1 Conquest of Nature in Western Culture
1.2 Land Degradation due to Over-exploitation
1.3 Human Alienation due to Resources Abuse
1.4 Spiritual Disequilibrium due to Whale-exploitation
1.5 Coastal Pollution due to Industrial Discharge
Chapter Ⅱ Reestablishment of ‘Umbilical’ Bond
2.1 Land Care in Aboriginal Tradition
2.2 Reverence for Life
2.3 Birth of Nature’s Children
2.4 An Environmental Campaign: Awakening People’s Eco-responsibility
2.5 An Ecotopia: Reestablished Harmonious Symbiosis
Chapter Ⅲ Retreat to the Wilderness
3.1 Wilderness
3.2 Coping with Growing Crises in the Wilderness
3.3 The Dilemma of Modern People in the Wilderness
3.4 The Reconciliation in the Wilderness
Conclusion
Works Cited
Appendix
Acknowledgements
前 言
当代著名澳大利亚作家蒂姆·温顿（1960-）是澳大利亚文学史上首位四次”迈尔斯·弗兰克林奖”获得者。因故乡西澳大利亚自然景观在其文本中的重要地位，他被冠以”景观作家”的称号。而作家亦作为环保运动的积极参与者和赞助人为人熟知。遗憾的是，尽管作品中的地方主义特色、归属感、非典型男性气质、厌女倾向等重要论题得到了评论界的足够重视，并且批评者们也关注到了自然景观在其创作中的突出地位，但对其生态意义的解读还不够系统深刻。温顿作品始终关注人与自然环境关系问题，具有布伊尔所谓的”环境取向的作品”的所有特质，因此利用生态文学批评理论解读该作家可以建立起其作为景观作家和环保主义者身份之间的内在逻辑，具有特殊意义。
生态主题是温顿创作的重要元素之一，体现了作家本人为代表的后定居者–当代澳大利亚白人对这片土地、海洋及栖息于此万物的全方位的爱恋和生态关怀。细读作家所有作品后，笔者认为尽管作者的生态理念呈现散漫式分布，但仍可勾勒出一个清晰的发展脉络。在相关前期成果不十分丰富的情况下，本书选取温顿生态主题较为突出的几部作品，如《浅滩》、《土乐》、《洛基·伦纳德，浮渣清除者》、《蓝背鱼》、《露天泳者》、《呼吸》以及短篇小说《荒野》等，对其生态主题进行纵向分析。
笔者经深入分析发现，作家的生态思想遵循着征服、重构和回归的思想轨迹。所谓征服指作品中温顿不遗余力地揭示出在西方文化中人与自然二元对立价值观指导下，白人在两个多世纪里对澳洲土地和海洋资源的恣意掠夺。薇尔·普拉姆伍德对二元论的深入分析将为解读这种人与自然的征服与被征服关系提供理论支持。文本中暗示白人罔顾澳洲大陆的自然条件恣意建立田园牧歌似的阿卡迪亚，结果却是过度农业垦殖遗留下土地退化；采矿业造成生态破坏，并进一步造成人自身的异化。温顿对人类征服海洋的揭示则主要集中于捕鲸业造成的人类精神生态失衡，以及少年读物《洛基·伦纳德，浮渣清除者》中作者用夸张笔墨展现的海岸污染严重威胁人之生存。作者构建新型的人与自然，更准确地说是澳洲白人与这片土地的脐带关系的灵感部分来源于20世纪以来西方生态批评的重要成果，如阿尔贝特·施韦泽的”敬畏生命”、奥尔多·利奥波德的”大地伦理”，同时也来源于澳大利亚土著文化中的”关爱大地”的世界观。三者在本质上并行不悖，共同为解读温顿作品中重构生态和谐的努力提供理论依据。在作者处女作《露天泳者》中，人物在对待陆生的袋鼠、海洋中的鱼时，充分体现出了一种对生命应有的敬畏，《土乐》中暗示出农业文化中理应秉持的环境伦理。其次，温顿积极塑造典型的自然之子/女形象，并使他们成为构建人与自然亲情关系的主要践行者。其中《浅滩》中的昆尼代表了20世纪70年代末生态意识觉醒的先行者，她不顾丈夫反对投入到一场拯救海洋生物鲸鱼的环保行动中。温顿的生态乌托邦小说《蓝背鱼》则展示了主人公属于海洋、与其和谐共生、终生守望的动人画卷，表达了作者对生态文明美好未来的企盼。回归荒野在温顿的生态思想体系中举足轻重，具有重要的生态和社会意义。回归荒野”使人类对自然产生深切的联系和归属感，感受到自然之神圣，并能使人类认识到其他生命体的内在价值进而与之产生亲情”（B. Taylor 315-16）。因此，这种回归有利于高度城市化的当代澳洲白人通过与自然亲密互动，产生亲情和归属感，摆脱疏离的”无根”状态实现本土化，从而构建与大地休戚相关的新型民族身份，并且加强人类与自然的纽带关系，培养人类对自然的生态关怀。此外，回归自然也是对社会上普遍存在的发展与消费主义神话的不满与反抗。温顿作品一再证明了浪漫主义之父卢梭的观点，即被人类社会所累的主人公在荒野中才能恢复纯良本性。如《露天泳者》中杰拉在荒野中经历了水与火的洗礼，净化了心灵，摆脱了负罪感，克服了友情危机、乱伦情欲而得以成长；《土乐》中鲁德·福克斯同样经受住了荒野生存的各种挑战，历经从求死到求生的蜕变，最终实现了自我和解。温顿还暗示，这种和解不仅在于主人公与个人的过往，而且在于种族间和物种间，并最终实现人类与自然间的和解。
总之，蒂姆·温顿的个人生态哲学突出地关注构建澳洲白人与土地的亲情关系，他本人热切希望像其作品中的人物那样，澳大利亚白人可以从荒野自然获得净化、顿悟、救赎和活力，并感受到他们的个人及民族身份与澳洲大陆血肉相连，从而实现人与自然和谐共生的生态理想。
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In Australia, Tim Winton is known under several titles: literary prodigy, landscape writer, and environmentalist. He began to write and publish at 22 and decided to be a writer at ten. Therefore, he won the name of a writing “prodigy”. His writing career is brilliant because he is the only four-time winner of the most prestigious literary prize in Australia-Miles Franklin Award. He is full of affection for the land that bred him and he wants the world to know that there is such a wonderful region on the western verge of the largest island continent-Australia. He is also known as a landscape writer. In addition, as a Western Australian who lives along the coastal area facing the Indian Ocean and backed by the vast arid or semi-arid area of the continent, Winton is an avid surfer, diver, fisher and even a beachcomber, which naturally leads to another important title for him-the enthusiastic patron of the marine environmental protection.
Winton was born to a working-class family in Karrinyup, Western Australia in 1960. His father was a policeman and his mother a switchboard operator. When he was 12 years old, his family moved to Albany, a major southern port, where he spent three years. Winton grew up largely at Scarborough, a suburb of Perth. The family Christmas holidays that were often spent “in a shack at the mouth of the Greenough River”, four-hour drive north of Perth, had an enormous impact on the author’s future career (Winton, Land’s Edge 12). In his memory, there are two distinct childhoods, “the one contained and clothed, between fences” in the suburban area and “the other rambling, windblown, half-naked” in the coastal area. Winton admits that he “lived the coastal life harder, with more passion”, for the outdoor life on the beach activates every cell in the boy (Winton, Land’s Edge 9). And Winton attributes his becoming an author partly to the summer time spent in the house library “with four walls of books” at Greenough. Besides, his summer holidays are full of “the briny smell of the sea”, which accounts for the author’s obsessive interest in the littoral life (Land’s Edge 14). House library and coastal life initiate him into a writing career as a landscape writer.
Later, Tim Winton had his name enrolled in a course of creative writing under the tutelage of Elizabeth Jolley, the famous Australian novelist, at the WAIT (the West Australia Institute of Technology, now Curtin University), albeit he spent most of his energy writing his virgin work An Open Swimmer which won him The Australian/Vogel Literary Award.
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