Abstract Faulkner’s The Reivers exemplifies the Quixotic Picaresque-a conflation of the narrative modes exhibited in Lazarillo de Tormes and Miguel de Cervantes’s Don Quixote. This essay explores the correlation between Spain’s transition from feudalism to a modern mercantile society and the United States’ transition from an agrarian society based on slavery to a modern industrial nation within the cultural contexts of these novels. In each of these works, a series of trickster figures undertake performative acts of deception, particularly the masking tradition of Carnival, in order to endure the hardships of modernity. However, whereas most tricksters tend to be solely focused on pragmatic individual objectives, quixotic pícaros maintain a sense of idealism that leads them to consider the Other and thus act in the name of communal prosperity. These selfless tricksters meta-theatrically parody the generic social conventions in which they reside in order to subvert the hegemony that seeks to oppress and marginalise them and fellow members of their communities. In performing an array of identities and social roles, these quixotic pícaros contribute to the opacity of modern multicultural nation-states, and thus, disrupt all social hierarchies leading to the regeneration of the public body, mobility, and a more utopian world.
展开▼
机译：摘要福克纳（Faulkner）的《复仇者联盟》（The Reivers）体现了Quixotic Picaresque，这是拉扎里洛·德·托梅斯（Lazarillo de Tormes）和米格尔·德·塞万提斯（Miguel de Cervantes）的唐·吉x德（Don Quixote）所展现的叙事模式的融合。本文探讨了西班牙从封建主义向现代商业社会的过渡与美国从基于奴隶制的农业社会向现代工业国家的过渡之间的相关性。在这些作品中的每一个中，一系列的骗子人物都进行了表演性的欺骗行为，尤其是狂欢节的面具传统，以忍受现代性的艰辛。但是，尽管大多数骗子往往只专注于务实的个人目标，但吉卜赛人皮卡洛斯却保持着理想主义的意识，使他们考虑他人，从而以共同繁荣的名义行事。这些无私的骗子以戏剧性的戏仿模仿了他们所居住的一般社会惯例，以颠覆试图压迫他们和使其社区成员的霸权。在表现一系列身份和社会角色时，这些古怪的皮卡洛斯加剧了现代多元文化民族国家的不透明性，从而破坏了所有社会等级制度，导致了公共机构，流动性和更加乌托邦式的世界的再生。
展开▼
