摘要
詹姆斯·乔伊斯是20世纪初英国最著名的作家之一,一直有“作家中的作家”的美誉。他创作了一系列作品,其中,最为盛名的当数《尤利西斯》。自诞生那天起,《尤利西斯》就遭受非议,从早期受到审判被以“淫秽”为罪名列为禁书,到后来文学评论家对它的争论不休,绵绵不绝,俨然成为一场“乔伊斯的战争”。数十年来,乔伊斯多被指责为“大男子主义”,主要认为他在作品中让男性观察者处于绝对的统治地位,而让女性成为“其他”,或者仅仅是“陪衬”。很多评论家也认同在乔伊斯小说中的女性往往成为不是“天使”就是“荡妇”的西方女性观的牺牲品。
而女性主义是起始于19世纪至目前为止仍然方兴未艾的一门显学,女性主义叙事学和女性主义美学分别是女性主义在发展过程中与叙事学、美学交汇而生长出来的交叉学科。随着后现代哲学和文化研究在过去数十年中对身体的文化内涵的解读越来越娴熟,女性主义叙事学成为我们认识这一问题的有力工具,而女性主义美学隶属于意识形态范畴,它渗透体现于叙事过程之中,也会从其特有的角度反映和强调女性主义审美立场和价值观。
本论文试图以女性主义叙事学为理论工具全面分析《尤利西斯》中存在的女性主义审美价值,并解读乔伊斯是如何通过建立女性叙事权威、进行视角渗透和塑造女英雄摩莉·布卢姆来实现这一目的。虽然乔伊斯从未宣称自己为女性主义者,但是,他在作品中塑造的女性形象与女性主义这一意识形态有着千丝万缕的联系。
本论文包含六个部分。第一章综述,回顾了作家和作品,介绍了作品产生的理论语境、社会语境、文化语境,总体阐述了女性主义叙事学理论并进行了国内外文献综述,指出了相关领域的研究进展及成果、存在的不足以及本课题的前沿性和研究意义。第二章讨论了作品中人物、情节和结构的叙事方式。这一章中最大的特色是“女性结构”的发现,这一发现,不仅是在众多《尤利西斯》评论文章中的首度阐述,也是本论文运用女性主义叙事学理论工具阐释《尤利西斯》女性主义审美观的基石。第三章论证了意识流是一种有利于表现女性化或者女性主义化的文本模式。虽然意识流作为写作技巧为男性和女性作家公用,文学评论界也未对其姓“男”还是姓“女”展开过讨论,但是,本论文通过意识流的起源、它自身具有的特征以及它与现代主义思潮的关系对这一问题进行了论争。第四章通过分析女性叙事声音阐述女性叙事权威是如何被建立的。第五章则从女性视角的角度阐述摩莉如何对其他人物视角及整部小说进行视角统筹的。第六章在结合女性主义叙事学解读的基础上,论证和总结了《尤利西斯》中乔伊斯试图通过塑造女性叙事权威、透过女性视角传达的女性主义审美观念和价值。最后,本论文指出了对《尤利西斯》进行女性主义审美式阅读的疗伤功能:作为女性读者,可以强化女性主体意识,让女性忘却其他主体,完全享受阅读快感,获得与众不同的审美体验。作为男性读者,可以让男性暂时忘却自己的身份及来自社会、家庭及男性本人方方面面的种种压力,可以“如释重负”。更重要的是,在小说中,因“爱”的存在,摩莉最终回归家庭,修复家庭裂痕;家庭的弥合,象征着人类精神家园的重建,人们可以在家庭中重获人文关怀、爱与慰藉,恢复精神,积蓄力量,从而走出精神困境。
James Joyce is one of the most prominent literary figures of the first half of the 20th century and is long considered as "authors' author".As a great artistic genius,Joyce created a body of work,in which Ulysses is the best one,worthy of comparison with the other masterpieces of English literature.Ulysses has been the subject of much controversy and scrutiny since its publication,ranging from early obscenity trials to protracted textual "Joyce Wars." Besides,over the decades,Joyce has been charged with "chauvinism," sometimes for unstated offenses,most convincingly for his predominant use of male perceivers and female "others," or "companion" women.Many critics have accepted the assertion that women in Joyce's fiction consistently reflect the virgin/whore dichotomy dominant in western culture.
Meanwhile,Feminism is one of eminent studies in the world wide of academics ranging from the 19th century.Feminist Narratology and Feminist Aesthetics are cross subjects between feminism and narratology or aesthetics.While postmodern philosophy and cultural studies have gone a long way in the last decade toward sketching out the parameters of how culture works upon the body,Feminist Narratology can give us the tools to get much more concrete about how that process operates.Feminist Aesthetics belongs to the ideological sphere, permeates and embodies in narrative process.It characteristically respects and emphasizes the standpoint and value of the female and gender in Aesthetics.
The thesis is a tentative study of Feminist Aesthetic views in Ulysses with the tool of Feminist Narratology that James Joyce conveys through establishing the authority of the female,orchestrating perspectives and shaping his representation of the heroine-Molly. Although Joyce has not claimed himself as a feminist,his representation of women is in alliance with feminist ideology in many aspects.
The thesis consists of six parts.Before the detailed analysis,review of James Joyce and his Ulysses,context of theory,society and literature,Feminist Narratology,and Feminist critical review on Ulysses at home and abroad are offered in Chapter 1.Chapter 2 discusses narrative patterns of unique characters,plot and structure.In this part,the most important is the discovery of the Female Structure,which is the base of the thesis to explore Feminist Aesthetic views in Ulysses with the tool of Feminist Narratology in the following four chapters.Chapter 3 is to illustrate now stream-of-consciousness text is a kind of discourse mode that easily represents feminismized features although both male and female writers employ this textual mode.Chapter 4 demonstrates that James Joyce establishes the authority of the female through the analysis of narrative voice of Molly as a female character and narrator.Chapter 5 is devoted to Molly's transcending female perspective controlling the whole novel through its orchestrating functions.Chapter 6 discusses and summarizes Feminist Aesthetic Views in Ulysses based on feminist narratological reading of Ulysses.The thesis also presented the concept of "Feminine Feelings" and pointed out curing functions of "Feminine Feelings" in Ulysses.If you are a female reader,these feminine feelings produced in the process of reading Ulysses would intensify your female identity and make you forget others and completely wrapped up in your reading,gaining a different aesthetic experience.If you are a male reader, they would make you forget your identity as a male temporarily to edge away from your overfull responsibilities imposed by society,the family and yourself.Most importantly,it is love that makes Molly reunite to the family and repair the family crack,symbolizing reconstruction of human's spiritual sphere.People could gain humanistic care,love and consolation and restore energy,which would lead human beings out of spiritual predicament.
引文
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1 http://en.wikipedia.org/wiki/Feminine
2 Drucilla Cornell,At the heart of freedom:feminism,sex,and equality(Princeton,N.J.:Princeton University Press,1998),4
3 Charlotte Krolokke and Anne Scott Sorensen,Three Waves of Feminism:From Suffragettes to Grrls(London,England:Sage Publications,Inc,2005),24.
4 http://en.wikipedia.org/wiki/Feminist art movement
5 Judith G.Coffin and Robert C.Stacey.Western Civilization(volume two).(London:W.W.Norton & Company,2008),679.
6 Keegan,John,The First World War,(Hutchinson,1998),8
7 Willmott,Hedley Paul,World War I,(New York:Dorling Kindersley,2003),307.
8 Yeh Chin-ching,"A Historical Perspective of the Female Oppression in the Victorian Period",in Journal of National Kaohsiung University of Applied Sciences,Vol.34(2005):41-52
9 http://www.associatedcontent,com/article/392800/feminism
10 Alison A.Case,Plotting Women:Gender and Narration in the Eighteenth-and Nineteenth-Century British Novel(Gharlottdville and London:University Press of Virginia,1989),6-7.
11 Ibid.,P9-10
12 Robyn R.Warhol,Having a Good Cry:Effeminate Feelings and Pop-Culture Forms (Columbus:The Ohio State University Press,2003),24-25.
13 XuQihua.The Narrative Authority of George Eliot in Middlemarch:An Analysis of the female Protagonists and their marriages[D].Normal University of Fujian,2008:3-5.
14 James Joyce,Ulysses,(London:Bodley Head,1960),432.
15 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),509.
16 Ibid.,p510
17 Ibid.,p890
18 Ibid.,p878
19 Ibid.,p878
20 Ibid.,p879
21 Ibid.,p933
22 Ibid.,p47
23 Ibid.,p21
24 Ibid.,p11
25 Ibid.,P927
26 Ibid.,P874
27 Ibid.,P876
28 http://www.answers.com/topic/odysseus
29 Judith Barry and Sandy Flitterman-Lewis,"Textual Strategies:The Politics of Art-Making ",Arlene Raven,Cassandra Langer and Joanna Frueh,ed.,Feminist Art Criticism (New York:Da Capo Press,1991),155.
30 Ibid.,p162
31 Stuart Gilbert,Letters of James Joyce,Viking Press(1957):159
32 Ibid.,180
33 Karen Lawrence,Joyce and feminism,The Cambridge Companion to James Joyce,Shanghai Foreign Language Education Press(2005):242
34 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),870.
35 Ibid.,p60
36 LuoXuanmin,Appreciation of English and American Literature(Fiction & Drama),(Beijing:University of Tsinghua,2006),276.
37 Ibid.,P279
38 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),102.
39 Ibid.,p103
40 Judith Barry and Sandy Flitterman-Lewis,"Textual Strategies:The Politics of Art-Making ",Feminist Art Criticism(1991):162
41 LuoXuanmin,Appreciation of English and American Literature(Fiction & Drama),(Beijing:University of Tsinghua,2006),321.
42 Ibid.,P277
43 Gerard Genette,Discourse,(Oxford:Basil Blackwell,1986),189.
44 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Comell University Press,1992),3.
45 Ibid.,p15
46 Ibid.,p18
47 Ibid.,p21
48 Ibid.,p22
49 Karen Lawrence,Joyce and feminism,The Cambridge to James Joyce(2000):238
50 Ibid.,239
51 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),103.
52 Ibid.,p104
53 Ibid.,p104
54 Jennifer Levine,Ulysses,The Cambridge Companion to James Joyce(2000):152
55 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),60
56 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),105.
57 Ibid.,p22
58 Ibid.,p6
59 Ibid.,p7-8
60 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),933
61 Ibid.,p43
62 Ibid.,p873
63 Ibid.,p878
64 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),23-24.
65 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),432
66 Joyce,James.Letters of James Joyce,Vol.Ⅱ and Vol.Ⅲ.Ed.Richard Ellmann.67 London:Faber,(1966):48
67 Ibid.,192
68 PengZhenzhu.James Joyce's Representation of Women[D].Guangdong University of Foreign Studies,2002,p33-34
69 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),49
70 Ibid.,p926
71 Gerard Genette Narrative Discourse Revisited.Trans.Jane E.Lewin(Ithaca and New York:Camell Vniversity Press,1988),74.
72 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),896
73 Ibid.,P905
74 Ibid.,P929
75 Ibid.,P874
76 Joanna Frueh,"Towards a Feminist," Theory of Art Criticism(1991):163
77 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),880
78 Ibid.,P915
79 Ibid.,P874
80 Ibid.,P924
81 Ibid.,P51
82 Ibid.,P88
83 Virginia Woolf,"Women and Fiction"(1929),in Michele Barrett ed.Women and Writing (New York:Harcourt Brace Jovanovich,1980),49
84 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),898
85 Ibid.,P899
86 Ibid.,P911
87 Ibid.,P912
88 Ibid.,P927
89 Ibid.,P923-924
90 Ibid.,P876
91 Ibid.,P887
92 Ibid.,932
93 Ibid.,P933
94 Ibid.,P933
95 James Joyce,Letters of James Joyce,Vot.Ⅱ and Vol.Ⅲ.Ed.Richard Ellmann(London:Faber,1966),254
96 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),927
97 Karen Lawrence,James Joyce,The Cambridge Companion to James Joyce,Shanghai Foreign Language Education Press(2005):254
98 Alison A.Case,Plotting Women:Gender and Narration in the Eighteenth-and Nineteenth-Century British Novel,University Press of Virgina(1999):4
99 Ibid.,p6
100 Ibid.,p9
101 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),114.
102 Ibid.,p114
103 Judith Barry and Sandy Flitterman-Lewis,"Textual Strategies:The Politics of Art-Making ",Feminist Art Criticism(1991):94
104 Ibid.,p94
105 Ibid.,p96
106 Ibid.,p96
107 Ibid.,p97
108 Joanna Frueh,"Towards a Feminist," Theory of Art Criticism(1991):155
109 Ibid.,p155
110 Ibid.,p156
111 http://en.wikipedia.org/wiki/Sensibility
112 Karen Lawrence,James Joyce,The Cambridge Companion to James Joyce,Shanghai Foreign Language Education Press(2005):3
113 http://en.wikipedia.org/wiki/Experience
114 特里·伊格尔顿.美学意识形态[M].王杰等译.桂林:广西师范大学出版社,1997,P234-235
115 Ibid.,p234-235
116 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),896
117 Ibid.,P915
118 Ibid.,P884
119 Ibid.,P906
120 Ibid.,p878
121 WuQingjun,Ulysses:A Study of Its Narrative Art[D].Hunan Normal University,2005,P92
122 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),898
123 Ibid.,P899
124 Cezanne,She Was A Great Painter as quoted in SemmeI,Joan;April Kingsley."Sexual Imagery in Women's Art".Woman's Art Journal 1(1):p.6.
125 ShiGuoqing,"What's the Meaning of Body Discourse?" in Journal of Lingling University,Vol.2 No.2(2004):36
126 Susan Sniader Lanser,Fiction of Authority:Women Writers and Narrative Voice,(Ithaca and London:Cornell University Press,1992),106.
127 WuQingjun,Ulysses:A Study of Its Narrative Art[D].Hunan Normal University,2005,P87
128 James Joyce,Ulysses(1992),(reprint;London:the Penguin Group,2000),892
129 http://en.wikipedia.org/wiki/Third-wave_feminism
130 Robyn R.Warhol,Having a Good Cry:Effeminate Feelings and Pop-Culture Forms (Columbus:The Ohio State University Press,2003),1-28.9
