拉什迪的《羞耻》以小民族文学的“生成女人”(2)
2.3.1Fluid line to escape from the vortex of power—focus on Sufiya 7
3.1 Women’s Hysteria Standing for Becoming and Resisting 9
3.2 Anti-Oedipus to Create Thousands of the Minors 10
Conclusion 12
Acknowledgement 13
References 14
1. Introduction
White European writers have in the long history of literature occupied the world’s attention. At the turn of this century, the mainstream European Caucasian white writers started to be challenged by post-colonial authors from third world countries. Salman Rushdie is a brilliant representative of this genre.
In the twentieth century, Salman Rushdie, the eminent and brilliant Indian-born English writer won the Booker prize for his second novel, Midnight's Children (Salman, 1981), won the Booker Prize. Much of his fiction is set on the Indian subcontinent. He is said to combine magical realism with historical fiction; his work is concerned with the many connections, disruptions, and migrations between Eastern and Western civilizations.
Rushdie, in his novels, created many shrew images (Guo, 2004) who have destructive and rebellious spirit and power. These shrews are different from marginalized and ignorant ones in traditional literary texts. Rushdie affirmed the power of the shrews, and expressed his post-colonial views through these images. Rushdie has quietly mentored younger Indian (and ethnic-Indian) writers, influencing an entire generation of Indo-Anglican writers, and is an influential writer in postcolonial literature.
1.1Literature Review: The work of magic realism works—Shame
The research of Shame has not a long history, since Salman Rushdie is still a contemporary writer. However, his influence is huge with his more than ten published books. The western scholars began to research Shame from 1990, and a mature system is always connected with the Post-colonialism, according to Salman Rushdie’s Postcolonial Metaphors (Jaian, 2001). These researches include Configurations of Woman and Modernity (Jardine, 1985), Feminism and Fairytales (Rowe, 1986), Loss and Recovery of Self under Colonialism (James, 2003) and A Critical Study (Greer, 2008), which concentrate their attention on the cultural identities and transmission. In addition, another line of research is focused on the political stand of Salman Rushdie, such as Salman Rushdie (Catherine, 1996). Last, only a few researches pay their attention to language style, like Notes Toward a Portrait (Charles, 1990) However, in the period of creation, it is necessary to analysis the text from another perspective. The becoming theory is always regarded as a philosophical concept and it is the first attempt to apply it to the study of Salman Rushdie’s text.
1.2The Represent Post-Colonial Writer--Salman Rushdie
The name of Salman Rushdie is always associated with another minority writer V. S. Naipaul, since they have common spiritual core — exploring factors which are influencing the ethical culture and history (Yin, 2004).
In Rushdie’s works, he is good at exploiting Indian advantage, such as fluid narrative speed and high visional words. Also it is easy to see that Rushdie likes to use fairy tales and allegory at the beginning of the chapter. Moreover, the following section of the essay, the adaptation of the most famous fairy tale -- “beauty and beast” will be explained. The present thesis argues that though it may be explained by the hypothesis of “clash of civilizations” to a great extent, a more satisfactory interpretation may be produced by looking into the identity displacement and post-modern notions in the novel that resulted from Rushdie’s complicated cross-cultural background.
Rushdie can’t get rid of this mark and root which has left deeply in his soul, he can only use the mainstream language to speak his own complicated story. Although Rushdie emigrated to live in England since he graduated from the university, and successfully became a British citizen, this can’t change the essence that he mostly belongs to another culture-- India and Pakistan.