英语论文哪里有？笔者认为科尔在两部小说作品中对人物原型、仪式原型和主题原型的刻画和重释，为我们在全球化背景下重新审视散居和移民形成的新方式，和黑人性构建的创新形式（即后黑人性，抵制单一和一元化的传统黑人身份结构）提供了新的视角，展现了不同于传统黑人小说的新非洲叙事模式。
Chapter I Character Archetypes in ContemporaryAfrican-Americans’Modern Life
1.1 Developing His Self in Urban Roaming As Anti-Hero Flaneur
Media reviews have largely related Cole’s protagonists’peripatetic stroll acrossthe cities of New York,Brussels and Lagos with western literary Flaneur traditions orthe well-known W.G.Sebald’s works.Open City and Every Day is indeed rich incultural referentiality,especially for their appropriation on western or white canon.While the excessive attention on the comparison between Cole’s Flaneur withSebald’s may“obscure a key issue in the book:this is a narrative troubled frombeginning to end”by the protagonists’“origin in Africa”(Bady 2015:45),by whichGoyal presents a more fitted literary concept of“errant”,that“errant may rehearse theroutes of conquest,mastery or discovery”(“The Transnational Turn”67).Coledevotes the sentence“I have searched myself”as one of the titles of chapters in OpenCity to accommodate both the development of Self and the uncovering of the historyof cities.As the Self is,“the principle and archetype of orientation and meaning.Therein lies its healing function”(Jung 1989:196),which constructs a person’s whole individual experience:his past,now and future.So the search of Self along with theurban roaming and the city history incessantly mentioned in the two novels can bedeemed as the development of the Self or more specifically,the process ofindividuation,representing“the goal of the total man,for the realization of hiswholeness and individuality with or without the consent of his will”(Jung 1969:128).The process of individuation helps to elucidate the mulatto image as an anti-heroFlaneur under Cole’s reinterpretation.
Chapter II Ritual Archetypes in ContemporaryAfrican-Americans’Modern Life
2.1 Recovery of Memory and Rediscovery of Death in theResurrection Ritual
The ritual of resurrection can be dated back to the primitive custom of“the Kingof the wood”.Frazer in The Golden Bough(2009)elaborates this cruel and bloodytraditional custom:the sanctuary of Diana Nemorensis persists a strange rule ofpriesthood,that a runaway slave can hold both the post of priest and the honor title ofKing of the Wood,while the slave should carry a drawn sword and keep peeringwarily about in case of a potential enemy,because a candidate for the priesthood canonly succeed to office by slaying the former priest,and breaking off one of the boughsfrom the saint tree inside the temple.Such rule of succession by killing passes downin later imperial times.The high monarch once shows any signs of weakness,he willbe forced to die and his soul needs to be transferred into a new and young flesh whenhis previous body is still in good condition,in order to ensure his soul’s eternalexistence.This manner of inheritance enables the soul of the monarch to last and getrebirth and thus symbolizes the unity and vitality of a group of people.
The similar ritual also appears in other myths,being usually portrayed as:a godwho dies in winter and resurrects in spring,such as the noted Adonis,the spirit ofvegetation.In ancient Egypt,Ra,the god of the sun,rules the world of humans andthe dead,and is seen as the symbol of resurrection.Each day Ra sails across the sky inhis barge and descends down into the underground world,thus completes a circle ofdeath and rebirth.Jung observes that such“transcendence of life”is usually“represented by the fateful transformations—death and rebirth—of a god or agodlike hero”and reveals“the the perpetual continuation of life throughtransformation and renewal”(1981:117).Therefore,the hero’s participation in theritual event of resurrection gives rise to the“the hope of immortality”(117).
Chapter III Theme Archetypes in ContemporaryAfrican-Americans’Modern Life
3.1 Shadow of Death and Collective Unconsciousness in Urban Life
Death,as a common motif,is flourished in miscellaneous major literary workssince primitive times.Death meeting unconscious may lead to conflict,suffering,orsin,which is often exhibited as the act of liberation by matricide or patricide,because“unconsciousness is the primal sin,evil itself,for the Logos”(Jung 1981:96).Theprime proof of this are the legends or literary creations about Oedipus,whounknowingly kills his father and marries his mother.The theme of death unites thewriter’s reflections on certain types of phenomena in his time and the then society,and the revelations he attempts to render to his readers,as well as his unique aestheticexperiences about death.For instance,the American writer Don DeL illo reinterpretsthe meaning of death through his work Falling Man(2007),reflecting on the survivalof human beings in the post-9/11 world;Jonathan S.Foer in his Extremely Loud andIncredibly Close(2010)applies traumatic narrative including“pictography,compulsive repetition,and trauma transfer”(Ding 2013:111)to convey his deepthoughts of the meaning of death after 9·11.Cole’s aesthetic practice of writing death in his novels is through indirection,which involves elision and omission.He is adeptat utilizing metaphorical techniques with various images to display the death ofindividuals of ethnic groups who are excluded from the sight of mainstream society.
3.2 An Ideal Cultural Identity That Crosses Borders of Cities andPrejudice
What is cultural identity?It is a special case of the social identity,which isdefined as the“interface between the person and the cultural context”(Schwartz,Montgomery and Briones 2006:6).Thus the concept of the cultural identity,according to Seth J.Schwartz and Marilyn J.Montgomery,“refers to a sense ofsolidarity with the ideals of a given cultural group and to the attitudes,beliefs,andbehaviors manifested toward one’s own(and other)cultural groups as a result of thissolidarity”(6).Cultural identity appeared in literature and cultural studies is typicallypresented as the national characteristics or a kind of cultural characteristics bearingwith national stamps.Such characteristic of black nations is mainly deemed asblackness with black aesthetics.“Black is beautiful”is a slogan called out during theseries of movements in the 1970s to embrace black culture and identity,and toappreciate black past as a worthy legacy,including black language,music,narrativestyle,cultural practices and oral traditions,etc.As a new diaspora writer,though Colebelongs to a generation of Chimamanda Ngozi Adichie and Taiye Selasi that“heraldsan African literary renaissance”,he still insists“that new migrations demand newconceptualizations of diaspora”(Goyal 2017:641).
Conclusion
This study discusses Cole’s reinterpretation from three types of archetypes:character archetypes of Flaneur and Pygmalion,ritual archetypes of initiation andresurrection,and theme archetypes of death and cultural identity.Cole’s writing ofthese classic archetypes reflects a post-modernist spirit of skepticism,which negatesand doubts any attempt to seek for the construction of grand or meta-narrative:hequestions the politics of racial identity as it restricts by its definitions on the blacks’humanity and behavior the Afro-American individual’s freedom to choose his ownidentity.Cole’s literary writing also exposes the inevitable and ongoing postcolonialfuture in the American society,where the“postcoloniality”is lurked“uneasilyunderneath”the world’s“ordered,concrete,and navigable surfaces”(Elze 2017:102).
Such post-modernist and post-colonialist criticism marks in Cole’s novelsdistinguish his reinterpreted archetypes from the classic ones.Though Julius in OpenCity and the“I”in Every Day both hold the detached posture of the anti-hero Flaneur,their choice differ from the 20th century’s Flaneur images who are finally infected bythe collectivism of those hard-working people and integrate into the crowd;instead,Cole’s protagonists maintain an intrinsic alienation and cosmopolitanist stance,andinsist on the individual freedom and choice of their identity construction,engaging inan“identity play”and living“with fractured identities”(Appiah 1996:104).Meanwhile,despite the fact that Cole has admitted that his novels are about maleprivilege,his portrayal of the archetype Pygmalion transcends the male image initiallyemerged as the incarnation of imperialist oppression and hegemony.In his two novels,the negative and suspicious resistance of Julius and“I”to American imperialist gazingand assimilation—they are both troubled by their Nigerian roots and deliberatelydeviate from being claimed as blacks,turns the superior Pygmalion(an original malechauvinist)image that the two protagonists have desperately performed into the ivorystatue Galatea,the oppressed subject by post-colonialism.Cole’s highlighting of histwo protagonists as the male chauvinist oppressor and the victim of colonialism at thesame time,to some extent recalls the traditional black novels,where some black malecharacters are exploited by racist whites but they themselves play the roles of abuserof their fellows.
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