摘要
性别表示男性和女性在社会中相互关联,用于指男性和女性的社会和文化构成,具有社会性,文化性和动态性。朱迪斯·巴特勒的“性别表演性”就充分体现了性别的多面性,称其是关于某一特定的个体在社会上的表现和行为的结果。因此,在英文文化语境中,性别并不是一个简单的只分为男性和女性的二元概念。在《奥兰多》这部奇幻作品中,弗吉尼亚·伍尔夫充分展示了性别最显著的特点。本文重点论述奥兰多性别的形成,揭示性别的意义。
本文的引言部分首先回顾了《奥兰多》的研究状况,接着概述关于性别研究的起源、发展和应用,然后以四章分析奥兰多性别的形成。第一章集中论述伍尔夫关于“雌雄同体”的理念以及奥兰多作为人格理想的体现。“雌雄同体”是伍尔夫艺术理念中的一种人格理想:即破除男性人格之糟粕,摒弃女性人格之缺陷,融合两种性别之精华。奥兰多正是这种阴柔与阳刚互补的理想人格,凸现人性之完美。第二章分两步研究奥兰多如何由男变女从而体现性别流动特点这一形成过程。首先,作为男性,奥兰多具有女性特质,即阿尼玛。然后,在阿尼玛与阿尼姆斯(女性中的男性特质)的冲突下,奥兰多从男性变为女性从而体现了两性融合。第三章探讨奥兰多如何打破传统两性对立定势,超越男女性别固有模式,借助性别流动产生的能量,从而建构一种新型人格,即男中有女,女中有男的理想人格。此乃性别动力学的意义。第四章讨论奥兰多性别的动态平衡和伍尔夫在《奥兰多》这部文学作品中的美学追求,目的在于建构一种健康、平等、自由、完美的人格。
在《奥兰多》这部作品中,奥兰多这一人物性别形成的过程颠覆了人们对于性别的传统理解。伍尔夫使奥兰多走向两性的统一,摒弃男性和女性的缺陷,倡导两性的和谐相处。这种艺术创新有助于改变人们思考问题的方式,使人们获得新生。
Gender, in this thesis, concerns society and culture, signifying the social interrelationship between male and female, and their social and cultural constitutions. It is dynamic. Judith Butler's theory of "Gender Performativity" claims that being multiple layers, gender is the result of socially constructed ideas about how the behaviors, actions and roles a particular individual performs. Therefore, in the context of English culture, gender is not a simple binary conception only being divided into male and female. Virginia Woolf, in her fantasy book Orlando, fully exhibits the most prominent traits of gender. This thesis attempts to focus on the making of Orlando's gender to uncover its significance.
In the Introduction, a brief survey is made of the origin, development and application about gender immediately after a literature review of study on Orlando. Then this thesis proceeds to analyze the making of Orlando's gender in four chapters. In Chapter One, my concern is with Woolf's idea of androgyny and the embodiment of an ideal of humanity in Orlando. In Woolf's art concept of an ideal personality, androgyny combines merits of male and female by abandoning the demerits of both. Highlighting the perfect human nature, Orlando is the embodiment of this perfect condition with the mutual benefits of male and female. Chapter Two studies the process how Orlando is molded into changing from male to female in two steps exhibiting the fluidity of gender. This fluidity is taken as the first step to break the traditional opposition of two genders. Firstly, as embodied masculinity, Orlando is marked with the features of anima. Secondly, with the conflict of anima and animus, Orlando can change from male to female so as to achieve the amalgamation of both genders. Chapter Three investigates how the protagonist Orlando breaks the traditional binary opposition and transcends the fixed social pattern of male and female. Through the power created by the performing gender, Orlando constructs a newly-pattern of personality—womanly-man or manly-woman—an ideal personality. It is the significance of dynamics of gender. The purpose of Chapter Four is devoted to the discussion about the dynamic balance of genders in Orlando and Woolf's aesthetic pursuit in Orlando. In regard to the author's concentration on Orlando' gender, we may find out that her aesthetic pursuit is to build a healthy, equal, free and perfect personality.
In Orlando, the process of making of Orlando's gender subverts the traditional concept of gender. By setting a unity of both genders in Orlando, Woolf casts off flaws of both genders and advocates the harmonious state of both genders. Woolf's artistic innovation, as a matter of fact, helps people to change the traditional ways of thinking to lead new lives.
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