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离散文学中的旅行书写，不仅记录了离散作家对空间的文本描绘，还反映了他们在跨文化背景下的身份探索。地理空间的位移往往会引发离散作家对于不同文化之间的跨越与杂糅，文学作品里的地域景观不仅是作为背景对空间的再现，它是作家对空间的文本再创作，还是离散作家身份的艺术表现。在《水印》中，俄裔美籍作家约瑟夫·布罗茨基的书写,不只是一篇描摹景色风情的游记，而是绘制了一个“文本创作”的威尼斯，也为自己的流亡生活确立了一种生存美学，消除了人们对流亡作家的固定标签，融入更大的文化背景以获得新生。本文从文学地理学里的“文本空间”视角来分析俄裔美国作家布罗茨基的英语散文集《水印：魂系威尼斯》，试图揭示离散作家的跨文化写作中存在的“第三空间”及其与文本创作的相互作用，力图表明离散作家的身份并非是从地理空间的移位，而是从心理创作的空间特征来确认的。
Abstract：Diasporic travel writing, as a specific literary form, reflects writers' depiction of space and their quest for identity in a cross-cultural context.The geographical displacement of diasporic writers often engenders cross-cultural interactions. The landscapes depicted in literary works are more than background representations of space; rather, they embody the author's textual reimagining of spatial constructs and serve as an artistic manifestation of the diasporic writer's identity. Joseph Brodsky, a Russian American writer, presents not only a panoramic view of Venice in Watermark when wavering between different languages and genres as a Russian poet and American essayist, but also paints a text-based version of Venice. This establishes for him a living aesthetic that helps eliminate prejudice against diasporic writers and allows him to merge into a broader cultural background. This paper analyzes Watermark through the lens of textual space of literary geographic criticism, trying to explore the Third Space and its interactions with trans-cultural writing in Brodsky's work. The analysis aims to demonstrate that the identity of the diasporic writer is confirmed through space based on psychological projection rather than geographical distance.
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(1)《旅行书写剑桥指南》（The Cambridge Introduction to Travel Writing[M], Cambridge University Press,2013）强调，旅行书写（travel writing）是一种作者兼叙述者使用第一人称的散文体裁，来叙述以事实为主导的旅行报告，从而将旅行文学与第三人称或者想象虚构的旅行叙事文学（travel narrative literature）区分开。
(1)段义孚（Yi-Fu Tuan）在《空间与地方：经验的视角》（Space and Place:The Perspective of Experience[M]. Minneapolis:University of Minnesota. 2001）中认为，空间（space）是抽象的地点，只有与人类社会产生关系才会被赋予意义，才会成为“地方”（place）。这种关系的产生一是通过直接亲近的感官，二是通过间接的方式，比如艺术、符号等媒介来生成。
(1)爱德华·苏贾将术语的表述从“third space”合并成“thirdspace”，旨在强调这一地带完全融合的状态，打破了二元对立空间非此即彼的状态。
基本信息:
DOI：10.16238/j.cnki.rla.2024.04.003
中图分类号:I712.076
引用信息:
[1]余毅.文本与空间的互塑：《水印：魂系威尼斯》的旅行书写研究[J].俄罗斯文艺,2024(04):58-70.DOI:10.16238/j.cnki.rla.2024.04.003.
基金信息: