奖学金女孩、乞女与加拿大女性主义的第二次浪潮——门罗《乞女》中的性别政治与文化谱系
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摘要
本文以门罗的代表性短篇小说《乞女》为例,探讨作家如何以文学手段揭示加拿大女性主义第二次浪潮时期社会内部的性别政治与文化谱系。门罗从理查德·霍加特著名的"奖学金男孩"的概念中得到启发,挖掘出加拿大"奖学金女孩"的特殊观察视角,同时将"乞女"这一西方文化的经典女性美德概念与文化研究的阶级视角并置,从而深刻地揭示出女性作为"弱者"的根源:无论在经济还是在文化上都无法取得独立。萝丝注定失败的女权主义抵抗,代表了加拿大第二代女性主义者的妥协性。门罗同时揭示了由于文化谱系的差异,加拿大女性主义"第一次浪潮"和"第二次浪潮"的主体间存在着某种鸿沟。
Taking Munro's "The Beggar Maid" as an example, this essay explores how the author uses literary devices to examine the gender politics and cultural genealogy in the period of the second wave of Canadian feminism. Enlightened by the concept of "scholarship boy" coined by the famous British cultural scholar Richard Hoggart, Munro takes a very Canadian perspective of "scholarship girl," and puts this class-conscious, cultural-studies perspective in contrast with the classical feminine virtues of "beggar maid" in western culture. Munro thus reveals the social root of women being the weak: the inborn independence in both economics and culture. The fact that Rose's feminist defense is doomed to fail represents the conciliationist nature of the "second wave" Canadian feminists. Due to the difference in cultural genealogy there exists unbridgeable gap between the "first wave" and the "second wave" of Canadian feminists.
Taking Munro's "The Beggar Maid" as an example, this essay explores how the author uses literary devices to examine the gender politics and cultural genealogy in the period of the second wave of Canadian feminism. Enlightened by the concept of "scholarship boy" coined by the famous British cultural scholar Richard Hoggart, Munro takes a very Canadian perspective of "scholarship girl," and puts this class-conscious, cultural-studies perspective in contrast with the classical feminine virtues of "beggar maid" in western culture. Munro thus reveals the social root of women being the weak: the inborn independence in both economics and culture. The fact that Rose's feminist defense is doomed to fail represents the conciliationist nature of the "second wave" Canadian feminists. Due to the difference in cultural genealogy there exists unbridgeable gap between the "first wave" and the "second wave" of Canadian feminists.
引文
Bourdieu,Pierre.Distinction:A Social Critique of the Judgement of Taste.Trans.Richard Nice.Newbury Park:Sage,1990.
De Beauvoir,Simone.The Second Sex.Trans.H.M.Parshley.New York:Knopf,1968.
Graves,Robert.The White Goddess:A Historical Grammar of Poetic Myth.London:Faber,1948.
Hoggart,Richard.The Uses of Literacy:Aspects of Working Class Life.London:Chatto,1957.
Metcalf,John,and Clark Blaise,eds.Best Canadians Stories.Montreal:Oberon,1978.
Munro,Alice.The Beggar Maid:Stories of Flo and Rose.New York:Knopf,1979.Rpt.of Who Do You Think You Are?Toronto:Macmillan,1978.
“No.11681.”The London Gazette 6 July 1776:1.
Rasporich,Beverly J.Dance of the Sexes:Art and Gender in the Fiction of Alice Munro.Edmonton:U of Alberta P,1990.
Thacker,Robert.Alice Munro:Writing Her Lives.Toronto:Emblem,2011.
a后受到1812年美加战争的影响,伦敦作为“上加拿大”首都的计划才最终作罢,被排名第二的多伦多所取代。
a梅特涅(Klemens Wenzel Nepomuk Lothar,Prince von Metternich-Winneburg zu Beilstein,1773—1859)1821年起任奥地利帝国首相,曾在欧洲形成以“正统主义”和“大国均势”为核心的梅特涅体系。笔者按。
a伯恩-琼斯(Edward Burne-Jones,1833—1898)是拉斐尔前派(Pre-Raphaelite Brotherhood)最重要的画家之一,崇尚对15世纪意大利文艺复兴初期的回归。伯恩-琼斯极少直接表达现实题材,强调古典主义的高贵女性、天使、神和英雄。《科菲拉国王和乞女》是其最有名的一幅作品,被认为是“英国人画得最好的一幅画”(《泰晤士日报》,1884年)。
b参见Robert Graves,The White Goddess:A Historical Grammar of Poetic Myth。
De Beauvoir,Simone.The Second Sex.Trans.H.M.Parshley.New York:Knopf,1968.
Graves,Robert.The White Goddess:A Historical Grammar of Poetic Myth.London:Faber,1948.
Hoggart,Richard.The Uses of Literacy:Aspects of Working Class Life.London:Chatto,1957.
Metcalf,John,and Clark Blaise,eds.Best Canadians Stories.Montreal:Oberon,1978.
Munro,Alice.The Beggar Maid:Stories of Flo and Rose.New York:Knopf,1979.Rpt.of Who Do You Think You Are?Toronto:Macmillan,1978.
“No.11681.”The London Gazette 6 July 1776:1.
Rasporich,Beverly J.Dance of the Sexes:Art and Gender in the Fiction of Alice Munro.Edmonton:U of Alberta P,1990.
Thacker,Robert.Alice Munro:Writing Her Lives.Toronto:Emblem,2011.
a后受到1812年美加战争的影响,伦敦作为“上加拿大”首都的计划才最终作罢,被排名第二的多伦多所取代。
a梅特涅(Klemens Wenzel Nepomuk Lothar,Prince von Metternich-Winneburg zu Beilstein,1773—1859)1821年起任奥地利帝国首相,曾在欧洲形成以“正统主义”和“大国均势”为核心的梅特涅体系。笔者按。
a伯恩-琼斯(Edward Burne-Jones,1833—1898)是拉斐尔前派(Pre-Raphaelite Brotherhood)最重要的画家之一,崇尚对15世纪意大利文艺复兴初期的回归。伯恩-琼斯极少直接表达现实题材,强调古典主义的高贵女性、天使、神和英雄。《科菲拉国王和乞女》是其最有名的一幅作品,被认为是“英国人画得最好的一幅画”(《泰晤士日报》,1884年)。
b参见Robert Graves,The White Goddess:A Historical Grammar of Poetic Myth。