Summary Set against Anzaldua’s seminal text, Borderlands, this study of Okri’s In Arcadia (2002) concerns itself with the author’s psychological, emotional and artistic identity; torn as he is between African and European heritages, obliged to negotiate a middle ground or mestiza personality. What appears at first to be unqualified suffering, ignominy and stateless confusion for Lao/Okri, reveals itself in the course of the film crew’s revelatory expedition to France, to be the existential groundwork for an identity that possesses insight, compassion and tolerance. More than that, the pain of existing in the shadow lands of English society stimulates Lao to develop the sensitive antennae of a true artist: he gains what Anzaldua defines as La Facultad, the ability to see below surface meanings and evince truths about cultures and those that inhabit their bounds. His nuanced mestiza character and artistic nature stand in stark contrast to the crass attitudes of entitlement and gauche lack of self-reflection evidenced by members of the film crew who all experience differing forms of grating confrontation and humiliation before they can reach a measure of that inner Arcadian peace, which most of them hardly realised they sought so earnestly.

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Ben Okri 在阿卡迪亚 (2002) 的 Anzalduan 阅读

总结 与 Anzaldua 的开创性文本《无主之地》相反，对 Okri 的《在阿卡迪亚》（2002 年）的这项研究关注作者的心理、情感和艺术身份；他在非洲和欧洲遗产之间左右为难，不得不谈判中间立场或混血性格。对老挝/俄克里来说，起初似乎是无条件的痛苦、耻辱和无国籍的困惑，在摄制组前往法国的启示性探险过程中显现出来，成为具有洞察力、同情心和宽容的身份的存在基础。不仅如此，生活在英国社会阴暗之地的痛苦刺激老挝发展出真正艺术家的敏感触角：他获得了 Anzaldua 定义为 La Facultad 的东西，能够看到表面之下的含义，并揭示有关文化和居住在其边界的文化的真相。他细致入微的混血性格和艺术天性与电影摄制组成员所证明的粗俗的权利态度和缺乏自我反省的态度形成鲜明对比，他们都经历过不同形式的激烈对抗和羞辱，然后才能达到内心的水平。阿卡迪亚和平，他们中的大多数人几乎没有意识到他们如此热切地寻求。