“从狗变成狼”:简·里斯笔下“娜拉出走”后的女性声音
|
摘要
在小说《离开麦肯齐先生之后》中,简·里斯试图让女主人公摆脱"介于狗与狼之间"的状态,实现"从狗变成狼"的蜕变,本文以此为例,剖析现代女性出走以后不得不面对的现实主义命题,深入解读女性主体意识的突围。本文通过文本细读、精神分析与文化批评的研究方法深入剖析小说中叙述声音与视角转换的关系,发现这部小说女主人公的女性主体意识是通过他者的多重叙述声音而折射出来的。由此阐发的女性声音在自我与他者、喜悦与虚无、声音与沉默之间穿梭,不仅体现出具有自省性的女性主体意识,也恰如其分地释放了后殖民文化先声以及女性文学能量。
In After Leaving Mr. Mackenzie, Jean Rhys tries to let her heroine end the state of "between Dog and Wolf" and transform "from dog to wolf". This paper takes this novel as an example and explains the realistic proposition that Nora had to face after her leave-takings, thus analyzes women's subject consciousness thoroughly. Moreover, the paper interprets the relationship of narrative voices and the transformation of perspective by close reading, psychoanalysis, and cultural criticism in this novel. It turns out that the heroine's subject consciousness is refracted by the voice of other persons' multiple narrations.Such a feminist voice not only shows a reflexive female consciousness of the subject, but also releases post-colonial voices and the energy of Female Literature.
In After Leaving Mr. Mackenzie, Jean Rhys tries to let her heroine end the state of "between Dog and Wolf" and transform "from dog to wolf". This paper takes this novel as an example and explains the realistic proposition that Nora had to face after her leave-takings, thus analyzes women's subject consciousness thoroughly. Moreover, the paper interprets the relationship of narrative voices and the transformation of perspective by close reading, psychoanalysis, and cultural criticism in this novel. It turns out that the heroine's subject consciousness is refracted by the voice of other persons' multiple narrations.Such a feminist voice not only shows a reflexive female consciousness of the subject, but also releases post-colonial voices and the energy of Female Literature.
引文
Berry,B.1995.“Between dog and wolf”:Jean Rhys’s version of naturalism in After Leaving Mr Mackenzie[J].Studies in the Novel(4):544-562.
Colesworthy,R.2014.Jean Rhys and the fiction of failed reciprocity[J].Journal of Modern Literature 37(2):92-108.
Dell’Amico,C.2005.Colonialism and the Modernist Moment in the Early Novels of Jean Rhys[M].New York&London:Routledge.
Emery,M.L.1990.Jean Rhys at“World’s End”:Novels of Colonial and Sexual Exile[M].Austin:University of Texas Press.
Haliloglu,N.2011.Narrating from the Margins:Self-Representation of Female and Colonial Subjectivities in Jean Rhys’s Novels[M].New York:Rodopi.
Howells,C.A.1991.Jean Rhys[M].London:Harvester Wheatsheaf.
Maslen,C.2009.Ferocious Things:Jean Rhys and the Politics of Women’s Melancholia[M].Newcastle:Cambridge Scholars Publishing.
Rhys,J.2000.After Leaving Mr Mackenzie[M].London:Penguin Group.
Simpson,A.2005.Territories of the Psyche:The Fiction of Jean Rhys[M].New York:Palgrave Macmilan.
Sternlicht,S.1997.Jean Rhys[M].New York:Twayne.
Winterhalter,T.1994.Narrative technique and the rage for order in Wide Sargasso Sea[J].Narrative 2(3):214-229.
耿幼壮.2013.倾听:后形而上学时代的感知范式[M].北京:北京大学出版社.
桑德拉·莎莉.2007.从女人到人---娜拉的转变[C]//柏棣,编.袁霞,译.西方女性主义文学理论.桂林:广西师范大学出版社,155-165.
苏珊·兰瑟.2002.虚构的权威---女性作家与叙述声音[M].黄必康,译.北京:北京大学出版社.
(1)克里奥耳人(Creole)本指16—18世纪时出生于美洲而双亲是欧洲人(如西班牙人)的白种人,以区别于生于欧洲而迁往美洲的移民,如今泛指在殖民地出生的欧洲后裔(又称殖民地白人)以及混血儿。简·里斯的父亲是威尔士裔的医生,母亲是本地具有苏格兰血统的克里奥耳人,而她是父母唯一的金发白肤的克里奥耳女孩,其他几个孩子都是棕发深肤的。里斯这种与生俱来的外来者身份,使她从小就对欧洲文化、男权文化以及殖民主义有着切肤的体会。
(2)当初易卜生几易其稿,终于把娜拉这一形象从女人转变为人,她的行为、思想和理想不带性别色彩。他去掉了初稿中对娜拉歇斯底里性格的刻画,将其孩子气伴以理性的目的,最重要的变化是把娜拉的思想归属定位于人而非女人。在定稿中,娜拉的道德感在本质上和男人的没有不同,娜拉自杀的想法也是基于人的,而不是女人的绝望。《玩偶之家》的定稿和易卜生后来的几部巨著都基于这个构想:一个人的本质特征是人,而非性别,是社会形态造成了不同。无怪乎,当易卜生被邀请向挪威同盟发表女权方面的演说时,他声明自己绝不是为了女权运动而写作的,因为这对于他来说是人的运动,他的任务一直是描写人。详见桑德拉·莎莉的《从女人到人——娜拉的转变》(2007)。
Colesworthy,R.2014.Jean Rhys and the fiction of failed reciprocity[J].Journal of Modern Literature 37(2):92-108.
Dell’Amico,C.2005.Colonialism and the Modernist Moment in the Early Novels of Jean Rhys[M].New York&London:Routledge.
Emery,M.L.1990.Jean Rhys at“World’s End”:Novels of Colonial and Sexual Exile[M].Austin:University of Texas Press.
Haliloglu,N.2011.Narrating from the Margins:Self-Representation of Female and Colonial Subjectivities in Jean Rhys’s Novels[M].New York:Rodopi.
Howells,C.A.1991.Jean Rhys[M].London:Harvester Wheatsheaf.
Maslen,C.2009.Ferocious Things:Jean Rhys and the Politics of Women’s Melancholia[M].Newcastle:Cambridge Scholars Publishing.
Rhys,J.2000.After Leaving Mr Mackenzie[M].London:Penguin Group.
Simpson,A.2005.Territories of the Psyche:The Fiction of Jean Rhys[M].New York:Palgrave Macmilan.
Sternlicht,S.1997.Jean Rhys[M].New York:Twayne.
Winterhalter,T.1994.Narrative technique and the rage for order in Wide Sargasso Sea[J].Narrative 2(3):214-229.
耿幼壮.2013.倾听:后形而上学时代的感知范式[M].北京:北京大学出版社.
桑德拉·莎莉.2007.从女人到人---娜拉的转变[C]//柏棣,编.袁霞,译.西方女性主义文学理论.桂林:广西师范大学出版社,155-165.
苏珊·兰瑟.2002.虚构的权威---女性作家与叙述声音[M].黄必康,译.北京:北京大学出版社.
(1)克里奥耳人(Creole)本指16—18世纪时出生于美洲而双亲是欧洲人(如西班牙人)的白种人,以区别于生于欧洲而迁往美洲的移民,如今泛指在殖民地出生的欧洲后裔(又称殖民地白人)以及混血儿。简·里斯的父亲是威尔士裔的医生,母亲是本地具有苏格兰血统的克里奥耳人,而她是父母唯一的金发白肤的克里奥耳女孩,其他几个孩子都是棕发深肤的。里斯这种与生俱来的外来者身份,使她从小就对欧洲文化、男权文化以及殖民主义有着切肤的体会。
(2)当初易卜生几易其稿,终于把娜拉这一形象从女人转变为人,她的行为、思想和理想不带性别色彩。他去掉了初稿中对娜拉歇斯底里性格的刻画,将其孩子气伴以理性的目的,最重要的变化是把娜拉的思想归属定位于人而非女人。在定稿中,娜拉的道德感在本质上和男人的没有不同,娜拉自杀的想法也是基于人的,而不是女人的绝望。《玩偶之家》的定稿和易卜生后来的几部巨著都基于这个构想:一个人的本质特征是人,而非性别,是社会形态造成了不同。无怪乎,当易卜生被邀请向挪威同盟发表女权方面的演说时,他声明自己绝不是为了女权运动而写作的,因为这对于他来说是人的运动,他的任务一直是描写人。详见桑德拉·莎莉的《从女人到人——娜拉的转变》(2007)。