摘要
当代澳大利亚女权主义小说的兴起，是在女权主义第二次浪潮影响下出现、与女权主义文学文化批评活动互相影响、互相促进的一个显著的文学现象。该小说类别于二十世纪七十年代开始出现，八十年代达到高潮。二十世纪女权主义小说方面的突出成就，不仅代表了当代澳大利亚妇女文学的精华，还使整个澳大利亚文坛的面貌为之一新。尽管当代澳大利亚女权主义小说成就斐然，但纵观其国内的研究成果却可以发现，批评界至今缺乏对二十世纪七十年代以来的女权主义小说发展脉络的清晰梳理，也没有明确指出女权主义小说在各个发展阶段的突出特征。因此，本论文结合四位具体的小说家及其代表性作品的阐述，致力于刻画出当代澳大利亚女权主义小说的整体发展脉络和突出阶段特征。
在结合时代背景对当代澳大利亚妇女解放运动和女权主义文学批评活动进行考察，并对当代澳大利亚女权主义小说进行分析和梳理的基础上，本论文提出该流派的小说创作大致经历了三个重要发展阶段：第一阶段是女权主义政治与激进的“反文化亚群体”意识形态相结合的阶段；第二阶段是女权主义者对男性民族主义历史（既包括正式的书面记载历史，又包括非正式的传说、神话）进行颠覆的阶段；第三阶段是女权主义者反思激进，并积极展开形式实验的阶段。在所有这些阶段，女权主义小说家对在私人“小天地”中的切身经历和在公共“大世界”中的政治事务的重视是并驾齐驱的，虽然在不同发展阶段女权主义的关注焦点并不相同。当代澳大利亚女权主义小说打破了私人“小天地”和公共“大世界”之间的界限，始终坚持以私人化的话语来透视公共空间和公共话语。这一做法暗含了女权主义的创作理念，那就是“以小见大”。这一理念既是对简·奥斯汀等前辈妇女作家以毕生写作经历身体力行的理想的继承和发展，又与女权主义第二次浪潮的纲领性口号“个人的即是政治的”（“The Personal isPolitical”），乃至与后结构主义、后现代主义对个体差异性的关注具有颇多共通之处。
本论文共分为六章：
第一章“绪论”首先对澳大利亚女权主义文学的历史渊源和批评影响进行综述，然后对当代澳大利亚女权主义小说及其研究进行梳理。本章强调：对澳大利亚女权主义文学的研究，应在充分重视国际女权主义和文学批评运动的影响的同时，密切关注澳大利亚本土的文学文化语境，尤其注重将具体作家作品置于澳大利亚文学文化的具体语境中来加以考察。“绪论”最后一部分是对本论文的研究目的、方法及内容的一个简要说明。
第二章通过聚焦海伦·加纳的《毒瘾难戒》（1977），探讨七十年代的女权主义者如何吸收和利用澳大利亚“反文化”运动的积极成果，来实现对自身命运的主宰和对所在社区和社会的传统观念和生活模式的修正。在《毒瘾难戒》中，加纳生动地描绘了一系列惊世骇俗的场景，这些场景涉及性解放、女权主义、摇滚乐、毒品文化以及集体式家庭伦理等一系列敏感问题。《毒瘾难戒》是一部对澳大利亚七十年代的“反文化”生活进行全面披露的作品，它证明了女性在这场少数派的“先锋”运动中占据了一个毋庸置疑的“在场”地位。《毒瘾难戒》还揭示了女权主义第二次浪潮对占女性人口绝大多数的异性恋妇女的现实生活的影响，以及七十年代的先锋女性所持的身体观念对她们的两性生活的深切影响。
第三章集中分析了吉恩·贝德福德的《凯特妹妹》（1982），并以此来剖析八十年代的女权主义作家对澳大利亚民族主义“神话”的改写。丛林强盗是澳大利亚民族神话的一个重要组成部分，而内德·凯利作为其中最富盛名的代表，不仅超越了丛林行劫的普遍含义，还象征着澳大利亚身份中浪漫和反叛的一面。虽然其丛林强盗的身份容易引起尴尬，但内德·凯利却与澳大利亚性和澳大利亚民族身份有着不可分割的关联。他代表着一种反帝国主义的、劳动阶层的、庶民的、爱尔兰裔的民族身份，同时也代表并强化了澳大利亚民族身份中白色人种的、异性恋男性的、厌女症的甚至是暴力的部分。《凯特妹妹》关注妇女在男性民族主义话语体系中的再现方式；通过重述凯利女人们的故事，贝德福德创造性地再现了被民族主义的“神话制造工程”所遮蔽的女性的“真实”生活。小说还揭示了澳大利亚最具代表性的男性行为模式——“伙伴情谊”与典型的澳大利亚特性——“男性阳刚气质”之间的共谋关系。通过披露“伙伴情谊”中隐含的排斥“他者”的倾向，以及“男性阳刚气质”建构和维系的过程，贝德福德揭开了民族主义“神话”的神秘面纱。《凯特妹妹》还描绘了女主人公在“后凯利帮时代”追寻自我的“奥德赛”。小说中女性对自我的追寻是与空间的移位分不开的。通过追溯凯特·凯利悲剧性的一生，贝德福德揭示：将“公共领域”与“男性空间”、“私人领域”与“女性空间”机械地对应起来的做法是极其有害；但开创真正的“女性空间”不能将希望寄托在男性身上，而必须依靠女性团体内部的互帮互助，依靠女性共同体为其提供源源不断的精神动力。
第四章以凯特·格伦维尔的《琼创造历史》（1988）为例，揭示了八十年代的女权主义作家撰写的“新历史小说”中包含的针对民族历史的“修正主义”宗旨。首先，这部作品试图重新定位“双百周年纪念”。庆祝英国殖民者在澳洲大陆定居满两百周年的1988年的“澳大利亚双百周年纪念”，是一个各种政治势力激烈角逐、来自不同利益群体的声音争夺话语权的特殊历史时期。在《琼创造历史》中，女性不仅占据了历史上的重大时刻的“在场”地位，还是当今和将来世界的主人翁。实际上，女权主义作家对于“双百周年纪念”民族主义话语体系的积极参与本身，即是一个女性“在场”地位的强大隐喻。此外，《琼创造历史》中的结构安排、人物命名和在土著问题上的处理态度，都充分体现了女权主义作家对于再现“真实的”女性主体的深入思考。《琼创造历史》还试图通过纠正关于历史的传统观念，来修正男性民族主义的“历史编撰学”中的偏差，并在此基础上提出女性版本的撰写历史的新方式。
第五章通过探讨德鲁希拉·莫杰斯卡的《波比》（1990），来展示八十年代末九十年代初的女权主义作家对激进女权主义阶段的种种过激倾向的反思。《波比》是莫杰斯卡基于自己母亲的生平经历创作的一部人生书写。该作品是澳大利亚女性写作在八十年代后期进入新阶段的一个重要标志。在《波比》这部作品中，作者重点阐释了三组关系，即“母亲”与“女儿”之间、“父亲语言”与“母亲语言”之间以及形式创新与女权主义政治任务之间的关系。通过对“母女关系”的考察，作者指出激进女权主义者在对待“母亲”的态度上存在问题。对“母亲”身份的排斥和恐惧，正体现了激进女权主义者对物质性的女性身体的疏离。基于“母女关系”的隐喻，努力摆脱和“母亲”的一切联系的激进女权主义者的形象，就如同一个自以为成熟稳重、迫不及待地想要证明自己已长大的青少年。“母女关系”还成为英国与澳大利亚之间关系的一个隐喻。对“父亲语言”与“母亲语言”之间关系的考察，体现了作者对适合女性传记作家的工作语言的探索。作者在作品中的代言人、叙述者拉拉吉作为历史学家和女儿的双重身份，也决定了她必然走上探索自己的语言的艰辛道路。《波比》在形式方面的特点还体现了形式创新和女权主义政治任务之间的完美统一。《波比》不是一部能够被轻易贴上明确的、单一的归属标签的作品。它既不是完全的虚构作品，也不是全然的历史写作，并具有元小说的性质和自我指涉的特点。然而却可以说，这是一部在女权主义热潮消退后的历史氛围下、借着为母亲作传来反思激进女权主义的功过得失的严肃的理论性作品。
第六章“结论”首先指出当代澳大利亚女权主义小说创作大致经历了三个阶段：第一阶段是女权主义政治与激进的“反文化亚群体”意识形态相结合的阶段；第二阶段是女权主义者对男性民族主义历史产生浓厚兴趣，并努力谋求颠覆的阶段；第三阶段是女权主义者反思激进，并积极展开形式实验的阶段。进而指出这一流派小说体现了对“私人领域”的女性经历的密切关注和对“公共领域”的政治事务的积极参与的完美融合。当代澳大利亚女权主义小说家创作的优秀作品，不仅是作家以个人的智识活动对公共生活进行干预的衍生品，它们本身还构成了作家公共干预活动的一个重要组成部分，从而必将对人们想象自我、历史、民族国家的现在和将来的方式产生深刻的影响。
The emergence of numerous feminist novels was a spectacularphenomenon in contemporary Australian literature, which had been underthe influence of and at the same time influenced the second-wavewomen’s movement and feminist literary criticism in Australia. This bodyof fiction emerged in the1970s and reached its peak in the1980s. Theoutstanding achievements not only represent the highlights ofcontemporary women’s literature, but also make anew the present sceneof literary creation in this country. However, the critical reception so farhas not done justice to all the great achievements. There is no attempt totease out a common thread to all these feminist novels, let alonegeneralize the features of feminist novels of each stage. Starting from thisomission, this dissertation attempts to redress some typical bias againstcontemporary Australian feminist novels.
Contemporary Australian feminist novel writing has in effect gonethrough three main stages: the first stage witnessed the feminists’appropriation of the radical ideologies of “counterculturesub-communities”; the second stage is the one in which the feministsaimed at subverting Australian nationalist history, either the formalwritten history or the informal oral history; the third stage is the one inwhich the feminists began to reflect on the negative side of the radicalperiod, formal experiments becoming the most prominent characteristicof this stage. The title “The Personal and the Political” derives from thesecond-wave feminist slogan “The Personal is Political”, but with somealteration. This phrase is coined in order to describe the consistentconcerns of contemporary Australian feminist writing at different stages,i.e., both the private worlds in which individual women live and thepublic sphere in which women’s voices can be heard. ContemporaryAustralian feminist novel writing transgresses the borders between “thepersonal” and “the political”. Such a feat is to some extent the inheritingand development of female precursors’ artistic ideal. In addition, it notonly resonates with the feminist political tasks, but also sheds light on the postmodern preoccupation with individuality and diversity.
This dissertation consists of six chapters:
Chapter One serves as the introduction. It begins with a summary ofthe historical origin, social context and critical influence of Australianfeminist literature. Then it offers an overview of the contemporaryfeminist novel writing and its studies. Finally, this chapter explains theobjective, the methodology, the theoretical framework and the contents ofthe study.
Chapter Two offers an analysis of Helen Garner’s Monkey Grip(1977). This chapter is mainly concerned with how the feminists in the1970s made use of the positive elements of the counterculture movement,for the sake of gaining autonomy of themselves and revising thetraditional views and lifestyles of the local community as well as thewhole society. The disquieting scenes in this book are loosely relevant tosexual liberation, women’s movement, rock and roll, drugs and the ethosof the collective household. Monkey Grip offers an honest account of thecounterculture lifestyle, and it proves the indisputable “presence” ofwomen in this minority movement. This book also discloses how second-wave feminism has affected the actual life of heterosexual womenwhich comprise the majority of the female population, and how the“body” views of those avant-garde women have influenced theirrelationship with “the other sex”.
Chapter Three takes Jean Bedford’s Sister Kate (1982) as a case toexamine feminist writers’ rewriting of nationalist “myth” in the1980s.Bushrangers are an indispensable part of Australian national mythology.Ned Kelly, the most famous Australian bushranger, has detached from theoriginal implication of robbery in the bushes and has come to symbolizethe romantic and revolutionary aspects of Australian identity. Althoughhis career as a bushranger may cause some embarrassment, Ned Kelly asa legend can by no means be cut off from the “Australian-ness” and theAustralian national identity. He represents an anti-imperialist,working-class, subaltern,“Irish-inflected” national identity and at thesame time represents and reinforces the white male, heterosexual,misogynist and even the violent part of this identity. Sister Kate is deeplyconcerned with the representation of women in Australian nationalistnarrative framework. By retelling, especially by making Kate Kelly (Ned’s sister) retell the stories of the Kelly women, Bedford creativelyreinvented the “true” life story of those women eclipsed by nationalist“myth-making project”. This novel also examines how “Mateship” andthe Australian-style Masculinity conspire to repel the Other, namely, thewomen, the indigenous population, people not of the working class, theimmigrants from non-European countries, etc. Through disclosing thedark side of “Mateship” and the construction and maintenance ofMasculinity within the Kelly Gang, Bedford succeeded in lifting the veilof the nationalist “myth”. This novel also depicts Kate Kelly’s personal“odyssey” in the post-“Kelly Gang” years, during which time theheroine’s pursuit of Selfhood is inseparable from the shifting of locations.The tragic end of this young woman throws light on the importance ofuniting with other female members to create women’s space.
Chapter Four presents an analysis of Kate Grenville’s Joan MakesHistory (1988) and explores the “revisionist” ideology embodied in theneo-historical fictions by feminist writers in the1980s. Above all, JoanMakes History tries to redefine the Australian Bicentenary. TheBicentenary of European settlement in Australia in1988is a significant historical period in which different political forces rush to claim theirplace, and voices from diverse interest groups vie for influence. In JoanMakes History, women not only become “present” in all the importanthistoric moments, but also gain the subjective status in the world of todayand tomorrow. The novel itself is a metaphor of women’s “presence” inthe Bicentennial discursive field. In addition, the layout, the naming offemale characters and the strategic way of dealing with the indigenousissue, all reflect the writer’s meditation on how to represent the “true”female subject. This novel also tries to change some traditional viewsabout history, rectify the traditional way of historiography, so as to comeup with a new way of compiling history from women’s perspective.
Chapter Five focuses on Drusilla Modjeska’s Poppy (1990) andexamines feminist writers’ reflections on the extremist tendencies ofradical feminism in the second-wave era. Poppy is a piece of life-writingbased on the life experience of an ordinary woman—the author’s mother.This work marks a turning point of feminist writing entering a new stagein the late1980s. In this work, Modjeska made great efforts to interpretthree sets of relationships, i.e., the relationship between “Mother” and “Daughter”, that between “father tongue” and “mother tongue”, and thatbetween formal experiments and feminist tasks. Through exploring the“Mother-Daughter” relationship, Modjeska tried to point out the dubiousattitudes radical feminists held for the “Mother”. This relationship alsoserves as a metaphor for the relationship between Britain and Australia.The author’s reconciliation between “father tongue” and “mother tongue”reveals her interest in finding the most appropriate working language fora female academic who wants to write the life story of an everywoman.Poppy also exemplifies the perfect combination of carrying out formalexperiments and accomplishing feminist political tasks. Poppy declinesany definite labeling or categorization, but it is viable to view it as aserious theoretical revision of radical feminism in an unfavorable socialcontext of Australia in the late1980s and early1990s.
Chapter Six is the conclusion. First and foremost, this chapter putsforward the main finding of this study, i.e., contemporary Australianfeminist novel writing has gone through three main stages. Furthermore,it points out that contemporary feminist novels stand for the harmoniousfusion of the feminists’ interest in the women’s living experiences in “the private worlds” and their political and social concerns over events in “thepublic sphere”. In doing this the study aims to dispute some critics’prejudice against the writers of contemporary Australian feminist novels,i.e., they are blinded by their own ideologies, are narrower in manyrespects, and are therefore inferior to their female precursors in the firsthalf of the twentieth century.
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