ABSTRACT

Camara Laye’s L’Enfant noir (1953; The Dark Child) and Fatima Mernissi’s Dreams of Trespass: Tales of a Harem Girlhood (1994) explore coming-of-age stories and postcolonial identity through autobiographical, anthropological accounts of colonial childhoods. Both texts can be read as auto-exotic as they are written in the language of the colonizer (or for an international audience in Mernissi’s case), and portray exotic rites and commonplaces designed to appeal to a western readership. However, these auto-exotic and anthropological elements form part of a complex strategy that aims to undermine them and, instead, convey messages of cultural complexity, dignity, harmony, and intersectional Muslim feminism. The auto-exotic serves as a pretext for the re-appropriation and re-creation of the world colonialism has destroyed in Camara Laye, and for the empowerment of women against all forms of oppression – colonial, cultural, or religious – in Mernissi.

摘要

Camara Laye 的L'Enfant noir (1953; The Dark Child ) 和 Fatima Mernissi's Dreams of Trespass: Tales of a Harem Girlhood（1994 年）通过对殖民童年的自传、人类学描述探索成年故事和后殖民身份。这两本书都可以像用殖民者的语言（或在 Mernissi 的案例中为国际观众）写的一样具有异国情调，并且描绘了旨在吸引西方读者的异国仪式和司空见惯。然而，这些异国情调和人类学元素构成了旨在破坏它们的复杂战略的一部分，而是传达文化复杂性、尊严、和谐和交叉穆斯林女权主义的信息。自我异国情调是重新占有和重新创造在卡马拉莱摧毁的世界殖民主义的借口，也是在梅尔尼西赋予妇女权力以抵抗一切形式的压迫——殖民、文化或宗教的借口。