反抗与生存
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摘要
玛格丽特·阿特伍德是当今世界文坛具有重要影响的作家之一,其作品类型丰富多彩,包括小说、诗歌、散文、儿童文学和批评,它们绝大多数都以当代社会和政治事件为背景,阿特伍德在《使女的故事》出版后的一次访谈中说起了到底什么是“政治”:“我们的意思是人如何与权力结构联系起来,以及权力结构如何与人发生关系。”这种对“政治”的宽泛定义涵盖了阿特伍德对社会现实问题的广泛关注:对男性和女性之间关系的考察,对加拿大民族身份问题的探讨,对人权问题的关心,以及对生态环境的关怀。本文围绕这四个方面对阿特伍德的作品进行了梳理和分析,继而指出:贯穿于阿特伍德创作中的一个不变主题是“反抗与生存”。论文共分为六个部分:
“前言”部分首先介绍了“反抗”作为后殖民理论核心的表现方式和手段,探讨了阿特伍德的“反抗与生存”观;通过梳理国内外阿特伍德研究现状,指出现有阿特伍德批评中存在的问题;最后结合女性主义和生态批评等视角,分析了阿特伍德作品中不同形式的“反抗与生存”主题之间的契合。
第一章从女性主义的视角出发分析阿特伍德作品中的女性如何为了生存反抗男权社会的压迫,指出阿特伍德解构男性话语霸权的两大策略:一、通过颠覆经典文本中的传统女性形象,让女性以重述故事的方式打破男性的叙事神话;二、通过大量运用“百衲被”意象探讨女性如何坚持女性主体性、创建自己的话语、从而建立女性同盟的方法。
第二章围绕加拿大在全球化语境中的弱势处境,探讨阿特伍德通过自己的作品思考加拿大如何实现抗拒霸权控制、脱离困境的可能性。本章首先考察阿特伍德对于如何通过追寻加拿大的文化之根和提倡民族文化传统来反抗外来文化侵蚀的思考,其次分析了阿特伍德如何立足加拿大的语言现状抨击殖民统治,阿特伍德认为,加拿大拥有两种语言,但它们都不是真正意义上的加拿大语言,阿特伍德提倡在拒绝帝国话语的同时,努力“寻找第三种语言”,即利用殖民者的语言书写加拿大在语言上受殖民的经历,揭示殖民压迫的种种后果。
第三章集中分析阿特伍德对于生活在社会底层的民众——那些遭受极权统治和殖民压迫的下层群体——的关注。本章通过聚焦阿特伍德作品中底层民众生活状况,探讨她理解中的底层民众苦难的根源,以及人们如何在这个“失落的世界”努力谋求生存的方式,阿特伍德通过为底层民众写作,表达了她对霸权势力的抗争,与此同时,她的作品大量地表现了底层民众如何通过各种有形的或无形的方式来抵抗强权压迫。
第四章探讨了阿特伍德笔下所表现的人对自然的压迫以及自然的反抗。本章首先陈述了阿特伍德作品中描写的生态灾难,阿特伍德认为,自然界的有机和无机环境遭到了毁灭性破坏,而在摧残自然的同时,人类也一步步滑向异化的深渊。本章着重探讨了阿特伍德作品对环境问题的深层次思考,她认为,环境问题是人的问题的一面镜子:滥用科技对自然界造成了破坏性后果,人类中心主义是生态危机的精神根源,人类的贪欲带来了文明和自然的双重危机。
“结论”部分通过对第四章的进一步阐发,指出阿特伍德作品中的女性问题、种族问题、阶级问题与生态问题都可以理解为作者对逻各斯中心的批判。阿特伍德认为,人类若想走出人类中心主义,需要摈弃狭隘的主宰自然的意识,人类若想在根本上缓解环境危机,便需要弥补人类文明自身的缺陷,彻底消除欧洲中心主义、殖民主义、种族主义、男权主义等一系列不公平统治的根源。
Margaret Atwood is one of the most influential writers in contemporary world literature. A versatile and prolific writer, Atwood has produced novels, criticism, poetry, essays and children’s books. Most of these works focus on contemporary social and political issues. In an interview after the publication of The Handmaid’s Tale, Atwood defines what she means by“politics”:“What we mean is how people relate to a power structure and vice versa.”This definition of“politics”explains Atwood’s concern about social realities: her scrutiny of relations between men and women, her engagement with questions of Canada’s national identity, her concern with the basic human rights of people living at the bottom of different societies, and her anxiety about environmental damage. Based on a comprehensive study of Atwood’s works, this present dissertation investigates the theme of“resistance and survival”throughout her writings. This dissertation consists of six parts.
The“Introduction”introduces“resistance”as the core of postcolonial theory and gives a definition of Atwood’s view of“resistance and survival”. Through a general review of the Atwood criticism in recent years, I contend that, in recent studies, there has been a lack of overall evaluation of Atwood’s works. I then argue that Atwood’s theme of“resistance and survival”corresponds to much of the concerns of feminism, postcolonial theory and ecocriticism which are interrelated in the way that they all follow the strategy of deconstructing logocentrism.
Chapter One discusses how women in Atwood’s works, in order to survive, resist oppression from the patriarchal society. On one hand, they dismantle male hegemony through subverting traditional female characters in literary classics; on the other hand, they employ quilt-making as a way to reconstruct their own identities and strengthen solidarity among themselves.
Chapter Two presents a picture of what Atwood sees as Canada’s awkward situation in the postcolonial world, demonstrating how to her it can survive both the trappings of British colonialism and America’s cultural and economic imperialism. I argue that, in Atwood’s eyes, the Canadians should track down the cultural root by turning to their national culture and resist colonial domination by seeking“a third language”, that is, while rejecting the metropolitan power over the means of communication, the Canadians should remold the language of the center to express Canada’s unique experience.
Chapter Three focuses on Atwood’s treatment of those who suffer in totalitarian regimes and under colonial oppression. Through a study of this submerged population in Atwood’s writing, I explain what Atwood sees as the root of their sufferings and the way for them to survive in this lost world. Atwood expresses her opposition to hegemonic power, and she exhibits the ways for the subaltern to overcome all kinds of oppression.
Chapter Four looks into Atwood’s reflection on man’s plundering of nature and nature’s revenge. Pointing to the ecological disaster delineated in Atwood’s works: the disastrous destruction of both the organic and inorganic life in the natural world and man’s alienation in the process of destroying the nature, I contend that environmental problems are a reflection of the problems of human beings: natural disasters caused by the abuse of technology, anthropocentrism as the source of ecological crisis and the crisis of civilization and nature brought about by human greed.
In my“Conclusion”, I point out that Atwood’s investigation into the problems surrounding women, race, class and ecology can perhaps be summed up as a general critique of logocentrism. The way to cast away anthropocentrism for humans is, according to Atwood, to get rid of their inflated egos in the face of nature, and to solve environmental problems, man should make up for his own limitations and eliminate the sources of Eurocentrism, orientalism, racialism and patriarchalism.
“前言”部分首先介绍了“反抗”作为后殖民理论核心的表现方式和手段,探讨了阿特伍德的“反抗与生存”观;通过梳理国内外阿特伍德研究现状,指出现有阿特伍德批评中存在的问题;最后结合女性主义和生态批评等视角,分析了阿特伍德作品中不同形式的“反抗与生存”主题之间的契合。
第一章从女性主义的视角出发分析阿特伍德作品中的女性如何为了生存反抗男权社会的压迫,指出阿特伍德解构男性话语霸权的两大策略:一、通过颠覆经典文本中的传统女性形象,让女性以重述故事的方式打破男性的叙事神话;二、通过大量运用“百衲被”意象探讨女性如何坚持女性主体性、创建自己的话语、从而建立女性同盟的方法。
第二章围绕加拿大在全球化语境中的弱势处境,探讨阿特伍德通过自己的作品思考加拿大如何实现抗拒霸权控制、脱离困境的可能性。本章首先考察阿特伍德对于如何通过追寻加拿大的文化之根和提倡民族文化传统来反抗外来文化侵蚀的思考,其次分析了阿特伍德如何立足加拿大的语言现状抨击殖民统治,阿特伍德认为,加拿大拥有两种语言,但它们都不是真正意义上的加拿大语言,阿特伍德提倡在拒绝帝国话语的同时,努力“寻找第三种语言”,即利用殖民者的语言书写加拿大在语言上受殖民的经历,揭示殖民压迫的种种后果。
第三章集中分析阿特伍德对于生活在社会底层的民众——那些遭受极权统治和殖民压迫的下层群体——的关注。本章通过聚焦阿特伍德作品中底层民众生活状况,探讨她理解中的底层民众苦难的根源,以及人们如何在这个“失落的世界”努力谋求生存的方式,阿特伍德通过为底层民众写作,表达了她对霸权势力的抗争,与此同时,她的作品大量地表现了底层民众如何通过各种有形的或无形的方式来抵抗强权压迫。
第四章探讨了阿特伍德笔下所表现的人对自然的压迫以及自然的反抗。本章首先陈述了阿特伍德作品中描写的生态灾难,阿特伍德认为,自然界的有机和无机环境遭到了毁灭性破坏,而在摧残自然的同时,人类也一步步滑向异化的深渊。本章着重探讨了阿特伍德作品对环境问题的深层次思考,她认为,环境问题是人的问题的一面镜子:滥用科技对自然界造成了破坏性后果,人类中心主义是生态危机的精神根源,人类的贪欲带来了文明和自然的双重危机。
“结论”部分通过对第四章的进一步阐发,指出阿特伍德作品中的女性问题、种族问题、阶级问题与生态问题都可以理解为作者对逻各斯中心的批判。阿特伍德认为,人类若想走出人类中心主义,需要摈弃狭隘的主宰自然的意识,人类若想在根本上缓解环境危机,便需要弥补人类文明自身的缺陷,彻底消除欧洲中心主义、殖民主义、种族主义、男权主义等一系列不公平统治的根源。
Margaret Atwood is one of the most influential writers in contemporary world literature. A versatile and prolific writer, Atwood has produced novels, criticism, poetry, essays and children’s books. Most of these works focus on contemporary social and political issues. In an interview after the publication of The Handmaid’s Tale, Atwood defines what she means by“politics”:“What we mean is how people relate to a power structure and vice versa.”This definition of“politics”explains Atwood’s concern about social realities: her scrutiny of relations between men and women, her engagement with questions of Canada’s national identity, her concern with the basic human rights of people living at the bottom of different societies, and her anxiety about environmental damage. Based on a comprehensive study of Atwood’s works, this present dissertation investigates the theme of“resistance and survival”throughout her writings. This dissertation consists of six parts.
The“Introduction”introduces“resistance”as the core of postcolonial theory and gives a definition of Atwood’s view of“resistance and survival”. Through a general review of the Atwood criticism in recent years, I contend that, in recent studies, there has been a lack of overall evaluation of Atwood’s works. I then argue that Atwood’s theme of“resistance and survival”corresponds to much of the concerns of feminism, postcolonial theory and ecocriticism which are interrelated in the way that they all follow the strategy of deconstructing logocentrism.
Chapter One discusses how women in Atwood’s works, in order to survive, resist oppression from the patriarchal society. On one hand, they dismantle male hegemony through subverting traditional female characters in literary classics; on the other hand, they employ quilt-making as a way to reconstruct their own identities and strengthen solidarity among themselves.
Chapter Two presents a picture of what Atwood sees as Canada’s awkward situation in the postcolonial world, demonstrating how to her it can survive both the trappings of British colonialism and America’s cultural and economic imperialism. I argue that, in Atwood’s eyes, the Canadians should track down the cultural root by turning to their national culture and resist colonial domination by seeking“a third language”, that is, while rejecting the metropolitan power over the means of communication, the Canadians should remold the language of the center to express Canada’s unique experience.
Chapter Three focuses on Atwood’s treatment of those who suffer in totalitarian regimes and under colonial oppression. Through a study of this submerged population in Atwood’s writing, I explain what Atwood sees as the root of their sufferings and the way for them to survive in this lost world. Atwood expresses her opposition to hegemonic power, and she exhibits the ways for the subaltern to overcome all kinds of oppression.
Chapter Four looks into Atwood’s reflection on man’s plundering of nature and nature’s revenge. Pointing to the ecological disaster delineated in Atwood’s works: the disastrous destruction of both the organic and inorganic life in the natural world and man’s alienation in the process of destroying the nature, I contend that environmental problems are a reflection of the problems of human beings: natural disasters caused by the abuse of technology, anthropocentrism as the source of ecological crisis and the crisis of civilization and nature brought about by human greed.
In my“Conclusion”, I point out that Atwood’s investigation into the problems surrounding women, race, class and ecology can perhaps be summed up as a general critique of logocentrism. The way to cast away anthropocentrism for humans is, according to Atwood, to get rid of their inflated egos in the face of nature, and to solve environmental problems, man should make up for his own limitations and eliminate the sources of Eurocentrism, orientalism, racialism and patriarchalism.
引文
①Margaret Atwood,“A Disneyland of the Soul,”in Toronto Arts Group for Human Rights, ed., The Writer and Human Rights. Toronto: Lester, 1983, pp.131-132.
②玛格丽特·阿特伍德:《使女的故事》,陈小慰译,南京:译林出版社,2001年,第175页。
③Northrop Frye, The Educated Imagination. Bloomington: Indiana University Press, 1964, pp.48-49.
①Margaret Atwood, Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi Press Limited, 1972, p.32.论文中有关《幸存》的引文均出自此书,只注明页码。文中有些译文参考了秦明利译本(《生存:加拿大文学主题指南》,北京:中国文联出版公司,1991年)。
①Frantz Fanon, The Wretched of the Earth, 1963. Translated from the French by Richard Philcox. New York: Grove Press, 2004, p.vii.
②Bill Ashcroft, Gareth Griffiths and Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. London and New York: Routledge, 1989, p.33.
①爱德华·W·赛义德:《文化与帝国主义》,李琨译,北京:生活·读书·三联书店,2003年,第305页。
②爱德华·W·赛义德:《文化与帝国主义》,第322页。
③Donna Bennett,“English Canada’s Postcolonial Complexities,”in Cynthia Sugars, ed., Unhomely States: Theorizing English-Canadian Postcolonialism. Toronto: Broadview Press, 2004, p.110.
④这一说法由Wilson Harris在其1960年出版的Palace of the Peacock (London: Faber & Faber)中提出。
⑤评论界对阿特伍德是否为后殖民作家有过争议。有些批评家指出,阿特伍德是个白人作家,从某种意义上说她的思想是帝国意志的延伸。但是笔者认为,界定后殖民性与文化有着更为密切的联系。从文化意义上讲,和印度等国家相比,加拿大作为移民殖民地与宗主国具有更加复杂微妙的关系。它一方面不愿意放弃与母国的联系,一方面又要不断重申自己的身份。因此,把阿特伍德放到加拿大作为后殖民国家这个语境中来具有重要意义。
①Karla Hammond,“Defying Distinctions,”in Earl G. Ingersoll, ed., Margaret Atwood: Conversations. London: Virago Press Limited, 1992, p.102.
①参见Richard Terdiman, Discourse/Counter-discourse: The Theory and Practice of Symbolic Resistance in Nineteenth-Century France. Ithaca and London: Cornell University Press, 1985.
②Helen Tiffin,“Post-colonial Literatures and Counter-discourse”, in Bill Ashcroft, Gareth Griffiths and Helen Tiffin, eds., The Post-Colonial Studies Reader. London and New York: Routledge, 1995, p. 96.
③Peter Childs & Patrick Williams, An Introduction to Post-Colonial Theory. New York: Prentice Hall/ Harvester-Wheatsheaf, 1997, p.123.
④Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. New York: Camden House, 2000, p.253.
⑤“属下”一说见Gayatri Chakravorty Spivak,“Can the Subaltern Speak?”In Cary Nelson & Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. Urbana: University of Illinois Press, 1988, pp.271-313.
⑥“叙述的许可”一说见Edward Said,“Permission to Narrate,”Journal of Palestine Studies 13.3 (1984): 27-48.
⑦Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.52.
⑧Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.53.
⑨Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.55.
①Margaret Atwood, Second Words: Selected Critical Prose. New York: O. W. Toad Limited, 1982, p.147.
②Margaret Atwood, Second Words: Selected Critical Prose. p.349.
③Margaret Atwood,“Surviving the Critics”, This Magazine is About Schools (1973), p.33.
④Margaret Atwood, Second Words: Selected Critical Prose. pp.348-349.
①这本论文集的名字为《马拉哈评论:玛格丽特·阿特伍德:专题论文集》(The Malahat Review: Margaret Atwood: A Symposium)。
②Linda Sandler, Preface, Margaret Atwood: A Symposium, ed. Linda Sandler, The Malahat Review 41 (January 1997): p.5.
①Sherrill E Grace,“Articulating the‘Space Between’: Atwood’s Untold Stories and Fresh Beginnings,”in Sherrill E Grace and Lorraine Weir, eds., Margaret Atwood: Language, Text, and System. Vancouver: University of British Columbia Press, 1983, pp.1-16.
②Eli Mandel,“Atwood’s Poetic Politics,”in Margaret Atwood: Language, Text, and System. pp.53-56.
③Judith McCombs,“Introduction,”in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston, Mass.: G. K. Hall, 1988, pp.1-28.
①Colin Nicholson,“Introduction,”in Colin Nicholson, ed., Margaret Atwood: Writing and Subjectivity: New Critical Essays. New York: St. Martin’s Press, 1994, pp.1-10.
②Colin Nicholson,“Living on the Edges: Constructions of Post-Colonial Subjectivity in Atwood’s Early Poetry,”in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.15.
①Diana Brydon,“Atwood’s Postcolonial Imagination: Rereading Bodily Harm,”in Lorraine M. York, ed., Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. Toronto: House of Anansi Press Limited, 1995, pp.87-116.
②Sharon Rose Wilson,“Mythological Intertexts in Margaret Atwood’s Works”, in Reingard M.Nischik, ed., Margaret Atwood: Works and Impact. New York: Camden House, 2000, pp.215-228.
③Sharon Rose Wilson,“Introduction”, in Sharon Rose Wilson, ed., Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. Columbus: The Ohio State University Press, 2003, pp.xi-xv.
①关于《使女的故事》的评论可以说汗牛充栋,大部分都是从女性主义的角度研究。以单行本出现的论著包括:哈罗德·布卢姆(Harold Bloom)主编的《玛格丽特·阿特伍德的<使女的故事>》( Margaret Atwood’s The Handmaid’s Tale);玛塔·德福瑞克(Marta Dvorak)主编的《<使女的故事>:玛格丽特·阿特伍德》(The Handmaid’s Tale: Margaret Atwood);李·布里斯科·托马森(Lee Briscoe Thomason)的论著《红字:玛格丽特·阿特伍德的<使女的故事>》(Scarlet Letters: Margaret Atwood’s The Handmaid’s Tale)等。
①Klaus Peter Müller,“Re-Constructions of Reality in Margaret Atwood’s Literature: A Constructionist Approach”, in Margaret Atwood: Works and Impact. pp.229-255.
②目前玛格丽特·阿特伍德的作品被译成中文的有:《生存:加拿大文学主题指南》,秦明利译,中国文联出版公司1991年出版;《浮现》,蒋丽珠译,译林出版社1999年出版;《可以吃的女人》,刘凯芳译,上海译文出版社1999年出版;《使女的故事》,陈小慰译,译林出版社2001年出版;《猫眼》,杨昊成译,译林出版社1989年出版;《别名格雷斯》,梅江海译,译林出版社1998年出版;《盲刺客》,韩忠华译,上海译文出版社2003年出版;《羚羊与秧鸡》,韦清琦、袁霞译,译林出版社2004年版;《珀涅罗珀记》,韦清琦译,重庆出版社2005年出版;《与死者协商》,严韻译,上海三联书店2007年版。
①潘守文的博士论文已于2007年由吉林大学出版社出版。
①劳伦斯·布依尔,韦清琦:“打开中美生态批评的对话窗口——访劳伦斯·布依尔”,《文艺研究》,2004年第1期,第67页。
①鲁枢元:《生态文艺学》,西安:陕西人民教育出版社,2000年,第37页。
①Benita Parry, Postcolonial Studies: A Materialist Critique. London and New York: Routledge (Taylor & Francis Group), 2004, p.37.
②Sally McCornell-Ginet & Ruth Borker, eds., Women and Language in Literature and Society. New York, 1986, p.65.
③Bharati Mukherjee,“Mimicry and Reinvention,”in Uma Parameswaran, ed., The Commonwealth in Canada. Calcutta: Writers Workshop Greybird, 1983, p.151.
①玛格丽特·阿特伍德:《使女的故事》,陈小慰译,第155页。论文中关于《使女的故事》的引文均出于此书,只注明页码。下同。
②顾铮:“为底层的视觉代言与社会进步”,《天涯》,2004年第6期,第18页。
①阿特伍德曾写过一篇文章“伟大的姨妈们”(“Great Aunts”)(参见Writing with Intent: Essays, Reviews, Personal prose, 1983-2005. New York : Carroll & Graf Publishers, 2005),提到了母亲家族强烈的女性意识对她所造成的影响,显然为她后来的女权主义倾向奠定了基础。
②当时在哈佛大学,女研究生门承担着在课间休息分发茶点的服务工作,而且那时候的拉蒙特图书馆(the Lamont Library)不允许女性涉足。参见Nathalie Cooke, Margaret Atwood: A Biography. Toronto: ECW Press, 1998.
③Margaret Atwood,“Dancing on the Edge of the Precipice”, with Joyce Carol Oates, in Margaret Atwood: Conversations. p.77.
④转引自Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. p.126.
①Margaret Atwood, The Circle Game. Toronto: House of Anansi Press, 1966, p.16.论文中关于《圆圈游戏》的引文均出自此书,只注明页码。下同。
②Karen F. Stein, Margaret Atwood Revisited. Twayne’s World Authors Series No. 887, Robert Locker, ed.. New York: Twayne, 1999, p.7.
③Justine Cassell,“Storytelling as a Nexus of Change in the Relationship between Gender and Technology: A Feminist Approach to Software Design”, in Justine Cassel and Henry Jenkins, eds., From Barbie to Mortal Kombat: Gender and Computer Games. Cambridge, MA: MIT Press, 1998, p.310.
①Margaret Atwood,“Gertrude Talks Back.”韩媛媛译,傅俊校。《当代外国文学》,2006年第3期,第8页。
②引自Twentieth-Century Literary Criticism, Vol. 114. Detroit: Gale Group, 1999, p.240.
③引自Twentieth-Century Literary Criticism, Vol. 114. p.240.
④参见罗岗:“在教室里还有“经典”吗?”http://nhgz.nhedu.net/swm/ReadNews.asp?NewsID=291。
①Joe Weixlmann,“Opinion: Dealing with the Demands of an Expending Literary Canon”, in Twentieth-Century Literary Criticism, Vol. 114. p.247.
②Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.33.
③转引自Neil Templeton,“Othering and Writing Back”. http://www.qub.ac.uk/schools/SchoolofEnglish/imperial/transnational/Othering.html
④参见西蒙娜·德·波伏娃的《第二性》,桑竹影、南珊译,长沙:湖南文艺出版社,1988年版。波伏娃指出,英文中某些单词的构词法能够表现男女不平等的地位,比如历史的拼写法“history”,即“his story”(男性的故事),却并非“herstory”:“her story”(女性的故事),由此可见,女性没有独立的历史体系,甚至在历史中并没有女性的地位。
①L. Louis Martz, ed., H. D. Collected Poems 1919-1944. New York: New Directions Publishing Corporation, 1983, pp.111, 118, 120.
②Cosman Carol, John Keefe and Kathleen Weaver, eds., The Penguin Book of Women Poets. Harmondsworth, Middlesex, England: Penguin Books Ltd, 1980, p.343.
③虽然夏洛特·勃朗特是女作家,但她本身也是男权社会的受害者,她在出版作品时甚至都不敢署上自己的真名,害怕读者因为知道作者是女性而提出异议,在这种情况下,她的小说自然会打上男性话语的烙印。
④王岳川:《中国镜像——九十年代文化研究》,北京:中央编译出版社,2001,第273页。原文链接:http://www.yuedu.org/thread-41144-1-13.html
⑤参见Margaret Atwood, The Robber Bride. Toronto: McClelland & Stewart Inc., 1993, p.331.
①引自艾伦·古尔德(Allan Gould)对阿特伍德的采访。http://www.allangould.com/magazines/interviews/margaretatwood/magazines_interviews_margaretatwood.html
②刘晓静:“重塑女神——玛格丽特·阿特伍德诗中的神话解析”,《当代外国文学》,2002年第2期,第126页。
③傅俊:《玛格丽特·阿特伍德研究》,南京:译林出版社,2003年,第406页。
④Margaret Atwood, Bones and Murder. London: Virago Press, 1995, p.70.
①Pilar Cuder Dominguez,“Rewriting Canonical Portrayals of Women: Margaret Atwood’s‘Gertrude Talks Back’”, October, 2003. http://www.english-literature.org/essays/atwood-gertrude.html
②笔者曾在《世界文学》2008年第2期上发表过短篇小说集《帐篷》的选译,其中包括“嗓音”、“莎乐美是个舞蹈家”、“小鸡仔走得太远啦”、“我们的猫进了天堂”、“炖袋狼肉”、“我迟迟不愿下笔的三部小说”、“霍拉旭的叙述”、“夜莺”、“帐篷”和“树婴”,第232-255页。
③Margaret Atwood, The Tent. New York: O. W. Toad, Ltd., 2006, p.49.论文中关于《帐篷》的引文均出于此书,只注明页码。下同。
④袁霞:“评玛格丽特·阿特伍德新作《帐篷》”,《外国文学动态》,2007年第3期,第5页。
①约翰·坎尼编:《最有价值的阅读:西方视野中的经典》,徐进夫等译,天津:天津教育出版社,2006年,第1页。
②转引自Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. p.247.参见脚注17。
①Margaret Atwood, Selected Poems:1966-1984. Toronto: Oxford University Press: 1990, p.165.论文中引文处只注明页码。下同。
①Gayatri Chakravorty Spivak,“Can the Subaltern Speak?”In Cary Nelson & Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. pp.271-313.
①Coral Ann Howells在2006年第32期《悉尼英语研究》(Sydney Studies in English)杂志上发表的“五种阅读《珀涅罗珀记》的方式”(“Five Ways of Looking at The Penelopiad”)中提到《帕涅罗帕记》是对神话的修订。韦清琦的“阿特伍德的《珀涅罗珀记》——一部女书”(《世界文学》2006年第1期)、陈榕的“阿特伍德《帕涅罗帕记》中对古希腊合唱团传统的改写”(《当代外国文学》,2006年第3期)、杨莉馨的“女性烛照下的经典重述”(《当代外国文学》,2006年第4期)以及曾晓覃的“阿特伍德新作《珀涅罗珀记》的叙事策略”(《当代外国文学》2007年第2期)都从女性主义视角出发,指出《帕涅罗帕记》是对《奥德赛》的改写和颠覆。
①《珀涅罗珀记》,韦清琦译,重庆:重庆出版社,2005年,第3页。论文中关于《珀涅罗珀记》的引文均出于此书,只注明页码。下同。
② http://www.randomhouse.ca/catalog/display.pperl?isbn=9780676974188
③《奥德赛》,王焕生译,北京:人民文学出版社,1977年,第420页。
①Atwood Margaret, Good Bones. Toronto: Coach House Press, 1992, p.25. See also Sharon R. Wilson,“Fiction Flashes: Genre and Intertexts in Good Bones”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. pp.18-41.②Margaret Atwood, The Handmaid’s Tale. Toronto: McClelland and Stewart Limited, 1985, p.240.这句话为《使女的故事》中的女主人公所说,她认为,她们这些作为使女的女性将在未来的历史中销声匿迹。而《奥德赛》中关于女仆们的记录印证了这一点。
③Margaret Atwood,“The Myths and Me”, Read: Life with Books (Random House) 6.1 (2005), 35.
④Guy Dixon,“A Desperate Housewife in Ancient Greece: Interview with Margaret Atwood”, The Globe and Mail: Review, 22 October 2005, p.12.
①韦清琦:“阿特伍德的《珀涅罗珀记》——一部女书”,《世界文学》,2006年第1期,第287页。
②Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.33.
①参见Catherine Lappas的硕士论文电子版:Rewriting Fairy Tales: Transformation as Feminist Practice in the Nineteenth and Twentieth Centuries. UMI Company, 1995, p.68.
①Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Routledge, 1985, p.20.
②转引自Catherine Lappas的硕士论文电子版:Rewriting Fairy Tales: Transformation as Feminist Practice in the Nineteenth and Twentieth Centuries. p.74.
①Margaret Atwood, Bluebeard’s Egg and Other Stories. Boston: Houghton Mifflin Company, 1986, p.134.论文中关于《蓝胡子的故事》的引文均出于此书,只注明页码。下同。
①关于“碎片化”和“肢解人体”的观点参见Sharon Rose Wilson, Thomas B. Friedman & Shannon Hengen, eds., Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. New York: The Modern Language Association of America, 1996, p.136.
①Margaret Atwood, Alias Grace. London: Bloomsbury Publishing Plc, 1996, p.353.论文中关于《别名格雷斯》的引文均出于此书,只注明页码,其中有些引文参考梅江海译本(译林出版社,1998年)。
②Sharon R.Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.125.
④Lenice Ingram Bacon, American Patchwork Quilts. New York: William Morrow, 1973, p.70.
⑤Lucy Lippard,“Up, Down and Across: A New Frame for New Quilts”, in Charlotte Robinson, ed., The Artist and the Quilt. New York: Knopf Press, 1983, p.18.
①Karen R.Warren, Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters. Lanham·Boulder·New York·Oxford: Rowman & Littlefield Publishers, Inc., 2000, p.68.
②Sharon R.Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.125.
①Margaret Atwood, The Journals of Susanna Moodie. Toronto: Oxford University Press, 1970, p.7.译文参考傅俊:《玛格丽特·阿特伍德研究》,第363-364页。
①Margaret Atwood, The Robber Bride, p.3.论文中关于《强盗新娘》的引文均出自此书,只注明页码。下同。
①程锡麟、王晓路:《当代美国小说理论》,北京:外语教学与研究出版社,2001年,第168页。
①Patricia Paillot在论文“结合还是不要结合:《盲刺客》中的讽刺”(“To Bind or Not to Bind: Irony in The Blind Assassin by Margaret Atwood”)中提出:“俄罗斯套娃式的内嵌性叙事结构遵循的是倒置和似非而是的总体构架,它们逐渐互相影响:两种明显分散的叙事板块变成了越来越流畅的体系,《盲刺客》成为了一种隐喻,象征了《盲刺客》中所描述的加拿大社会的衰落和深刻变化。”该论文出自Etudes Canadiennes / Canadian Studies, No. 53, 2002, pp.117-26。
②参见《盲刺客》,韩忠华译,上海:上海译文出版社,2003年,译序第3页。
②Earl G. Ingersoll,“Engendering Metafiction: Textuality and Closure in Margaret Atwood’s Alias Grace”, in American Review of Canadian Studies (Autumn 2001): 385-401.
③Margaret Atwood, In Search of Alias Grace: On Writing Canadian Historical Fiction. Ottawa: University of Ottawa Press, 1997, p.19.
①Margaret Atwood, In Search of Alias Grace: On Writing Canadian Historical Fiction. pp.6-7.
②参见毕凤珊:“百衲被:加拿大文化与女性身份的载体”,《天津外国语学院学报》,第12卷第4期,2005年7月,第65-69页。
①潘守文:“从《别名格雷斯》看阿特伍德的逃生哲学”,《北京第二外国语学院学报》(外语版),2006年第10期,第53-57页。
②Gina Wisker, Margaret Atwood’s Alias Grace. New York: The Continuum International Publishing Group Inc, 2002, p.38.
①Margaret Rogerson,“Reading the Patchworks in Alias Grace”, Journal of Commonwealth Literature, 33, 1 (1998): 5-22.
②Tomoko Kuribayashi,“‘A mouse in the castle of the tigers…might become a tiger’: Victims, Survivors, and Narratives in Alias Grace and The Blind Assassin”, in Margaret Atwood Studies, vol 1, no 1, September 2007, p.25.
③傅俊,《玛格丽特·阿特伍德研究》,第318页。
①Sharon Rose Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.133.
②Gillian Siddall,“That Is What I Told Dr. Jordan…’: Public Constructions and Private Disruptions in Margaret Atwood’s Alias Grace”, Essays on Canadian Writing 81 (2004), p.97.
①Jennifer Murray,“Historical Figures and Paradoxical Patterns: the Quilting Metaphor in Margaret Atwood’s Alias Grace”, Studies in Canadian Literature, 26, 1 (2001): 65-83.
②Coral Ann Howells, Margaret Atwood. New York: St. Martin’s Press, 1996, p.17.
①杨莉馨:“女性烛照下的经典重述——评玛格丽特·阿特伍德的小说《珀涅罗珀记》”,《当代外国文学》,2006年第4期,第138页。
②韦清琦:“阿特伍德的《珀涅罗珀记》——一部女书”,《世界文学》,2006年第1期,第292页。
③Coral Ann Howells,“Five Ways of Looking at The Penelopiad”, in Sydney Studies in English Vol. 32, 2006, pp.5-18.
①Marina Warner,“Atwood dips into Plath depths”, The Globe and Mail October 2, 1993: C24.
②Jennifer Enos,“What’s in a Name? Zenia and Margaret Atwood’s The Robber Bride.”Newsletter of the Margaret Atwood Society 15 (Fall/Winter 1995): 14.论文作者认为,赞妮亚(Zenia)的名字是三个女人名字的合成:Z来自罗兹(Roz)的最后一个字母,en来自切丽思原先的名字karen,而ia来自托尼的原名Antonia。
①Karen F. Stein, Margaret Atwood Revisited. p.98.
②Ibid. p.100.
③傅俊:《玛格丽特·阿特伍德研究》,第273页。
②Phyllis Sternberg Perrakis,“Atwood’s The Robber Bride: The Vampire as Intersubjective Catalyst”, in Harold Bloom, ed., Margaret Atwood. Philadelphia: Chelsea House Publishers, 2000, p.206.
①杨如英:《跨越疆界:<强盗新娘>中的文类、性别、国家议题》。http://www.eng.fju.edu.tw/canada/paper/Robber_Bride.htm
②Karen F. Stein, Margaret Atwood Revisited. p.102.
③Graeme Gibson, Eleven Canadian Novelists. Toronto: Anansi, 1973, p.27.
④这一点在《强盗新娘》的电影版中显得更为直白。电影中增添了两位男性——亨利和约翰,亨利是赞妮亚的男友,他时常折磨赞妮亚,赞妮亚制造出自己被亨利杀害的假象,让他被关入大牢,亨利请朋友约翰帮助自己澄清事实,约翰去调查托尼、切丽思和罗兹,她们三人心里明白赞妮亚没有死,但是还是帮助赞妮亚躲了起来。该电影由苔西·卡梅伦(Tassie Cameron)根据阿特伍德的小说进行改编、大卫·埃文斯(David Evans)执导,于2007年1月上映。影片获得了“埃美奖(Emmy Awards)”最佳女演员奖提名。
①Diana Brydon & Helen Tiffin, Decolonising Fictions. Sydney: Dangaroo, 1993, p.63.
②Helen Gilbert & Joanne Tompkins, Post-Colonial Drama. London and New York: Routledge, 1996, p.283.
③David Staines, The Canadian Imagination. Harvard University Press, 1977, p.9.
④转引自Eva-Marie Kr?ller, ed., The Cambridge Companion to Canadian Literature. Cambridge University Press, 2004, pp.179-180.
①加拿大政府一方面通过“加拿大广播公司(CBC)”和加拿大立法班子,一方面通过直接资助出版商,发起了一场持久战,成功地在加拿大创造了一个文学团体。当时加拿大涌现出了一批新兴的出版机构,包括安南西出版社(House of Anansi)、奥伯龙出版社(Oberon)、新出版社(New Press)、科齐出版社(Coach House)和ECW出版社等,这些出版机构的出现改变了文学界的内部结构。
②这些作家中有很多后来在加拿大文学界取得了突出成就,除了阿特伍德之外,还有玛格丽特·劳伦斯(Margaret Laurence)、鲁迪·维厄伯(Rudy Wiebe)、罗伯特·克罗齐、艾丽丝·蒙罗(Alice Munro)和麦克尔·翁达杰(Michael Ondaatje)等。
③Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.78.
④Margaret Atwood,“Dancing on the Edge of the Precipice”, with Joyce Carol Oates, in Margaret Atwood: Conversations. p.77.
①阿特伍德在《幸存》中写道:“如果一个国家或是一种文化缺少这样的镜子,它便没有办法看清自己是什么模样,它只好盲目旅行。假如在一个国家里长期没有这样的镜子,一个观察者站在一面不是反射他自己形象而是反射别人形象的镜子面前,却被告知他看到的形象就是他自己,那么他所看到的自己将是一幅十分扭曲的形象,别人的形象在他眼里也将是扭曲的;认不清自己也就很难了解别人。”(本段译文参考秦明利译本)另外,阿特伍德在许多作品中都采用了“镜子”意象,参见司艳“玛格丽特·阿特伍德的镜子情结”(《译林》1998年第5期)。
②转引自Sherrill E. Grace, Violent Duality: A Study of Margaret Atwood. Montreal: Vehicule Press, 1980, p.129.
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.143.
②Margaret Atwood,“Travels Back”, in Second Words: Selected Critical Prose. p.113.本段译文参考《玛格丽特·阿特伍德研究》,第213页。
③Northrop Frye, Conclusion to Literary History of Canada: Canadian Literature in English, eds. Carl F. Klinck & Alfred G. Bailey. Toronto: University of Toronto Press, 1965, p. 826.
④转引自Verena Bühler Roth, Wilderness and the Natural Environment: Margaret Atwood’s Recycling of a Canadian Theme. Tübingen; Basel: Francke, 1998, p.11.
①参见Fredric Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, N. C.: Duke University Press, 1991.
②Coral Ann Howells, Margaret Atwood. p.26.
③苏珊娜·穆迪是19世纪移民加拿大的英国人,曾在其作品《丛林中的甘苦》(Roughing it in the Bush)和《拓荒生活》(Life in the Clearings)中描述了早期加拿大移民的艰难生活。
①Margaret Atwood, The Journals of Susanna Moodie. p.62.论文中关于《苏珊娜·穆迪的日记》的引文均出自此书,只注明页码。下同。
①“地之灵”一说缘自英国小说家D. H.劳伦斯(D. H. Lawrence)《论经典美国文学》(Studies in Classic American Literature)的导论“地之灵”(“The Spirit of Place”)。
②Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature,Westport, CT: Greenwood Press, 1991, p.154.
③Margaret Atwood, Lady Oracle. Toronto: McClelland-Bantam, Inc., 1977, p.42.论文中关于《预言夫人》的引文均出自此书,只注明页码。下同。
④Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.155.
⑤Robert Kroetsch,“Reciting the Emptiness”, in The Lovely Treachery of Words: Essays Selected and New. Toronto: Oxford University Press, 1989, p.38.
①Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. Toronto: TSAR, 1995, p.vii.
②Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. p.5.
③Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. p.5.
① Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.126.
②Northrop Frye,“Conclusion to a Literary History of Canada.”The Bush Garden: Essays on the Canadian Imagination. Concord, Ontario: Anansi, 1995, p.221.
①Margaret Atwood Interview in G. Gibson, Eleven Canadian Novelists. pp.1-31.
①Margaret Atwood, Surfacing. Toronto: McClelland & Stewart Inc., New Canadian Library edition 1994, p.11.论文中关于《浮现》的引文均出自此书,只注明页码。文中有些译文参考蒋丽珠译本《浮现》,南京:译林出版社,1999年。
②Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.127.
③Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. New York: Oxford University Press, 1995, p.282.
①Jim Davidson,“Where Were You When I Really Needed You”, in Margaret Atwood: Conversations. p.90.
② Coral Ann Howells, Margaret Atwood. p.43.
①Nathalie Cooke, Margaret Atwood: A Biography.此处译文参考《玛格丽特·阿特伍德研究》,第206页。
②Diana Brydon & Helen Tiffin, Decolonising Fictions. Sydney: Dangaroo Press, 1993, p.94.
①Nathalie Cooke, Margaret Atwood: A Biography.此处译文参考《玛格丽特·阿特伍德研究》,第206页。
②Barbara Hill Rigney, Margaret Atwood. London: Macmillan Education, 1987, p.3.
①Shannon Hengen, Martaret Atwood’s Power: Mirrors, Reflections and Images in Select Fiction and Peotry. Toronto: Second Story Press, 1993, p.12.
②Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.119.
③Barbara Hill Rigney, Margaret Atwood. p.3.
④Alan Lawson,“Postcolonial Theory and the‘Settler’Subject,”in Cynthia Sugars, ed., Unhomely States: Theorizing English-Canadian Postcolonialis., Toronto: Broadview Press, 2004, p.159.
⑤Colin Nicholson,“Living on the Edges: Constructions of Post-colonial Subjectivity in Atwood’s Early Poetry”, in Colin Nicholson, ed., Margaret Atwood: Writing and Subjectivity: New Critical Essays. New York: St. Martin’s Press, 1994, p.43.
①Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Trans Peggy Kamuf, intro Bernd Magnus & Stephen Cullenberg. New York: Routledge, 1994, p.xix.
②Catharine Parr Traill,“From The Backwoods of Canada”, in Russell Brown and Donna Bennett, eds., A New Anthology of Canadian Literature in English. Toronto: Oxford University Press, 1990, p.92.
③厄尔·伯尼的这首短诗发表于1975年,这段引文转自Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.63.
④Catharine Parr Traill,“From The Backwoods of Canada”, in A New Anthology of Canadian Literature in English. p.93.
⑤Kathryn VanSpanckeren & Jan Garden Castro, eds., Margaret Atwood: Vision and Forms. Carbondale, Edwardsville:Southern Illinois University Press, 1988, p.242.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.9.
②Margaret Atwood,“Canadian Monsters: Some Aspects of the Supernatural in Canadian Fiction”, in David Staines, ed., The Canadian Imagination: Dimensions of a Literary Culture. Massachusetts: Harvard University Press, 1977, p.100.
③Edward Hartley Dewart, ed., Selections from Canadian Poets. 1864. Toronto: University of Toronto Press, 1973, p.ix.
④Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.17.
①Geoff Hancock, Canadian Writers at Work. Toronto: Oxford University Press, 1987, p.258.
②Alan Lawson,“Postcolonial Theory and the‘Settler’Subject,”in Unhomely States: Theorizing English-Canadian Postcolonialism. p.161.
③Donna Bennett,“English Canada’s Postcolonial Complexities,”in Unhomely States: Theorizing English-Canadian Postcolonialism. p.125.
④Roy Miki,“The Future’s Tense: Some Notes on Editing, Canadian Style.”Open Letter 8th ser. 5-6 (1993): 189.
①Roy Miki,“The Future’s Tense: Some Notes on Editing, Canadian Style.”Open Letter 8th ser. 5-6 (1993): 191.
②Diana Brydon,“Beyond Violent Dualities: Atwood in Postcolonial Contexts”, in Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. p.50.
③Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.1.
①Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.282.
②Colin Nicholson,“Living on the Edges: Constructions of Post-Colonial Subjectivity in Atwood’s Early Poetry”, in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.43.
①转引自Reingard M.Nischik, ed. Margaret Atwood: Works and Impact. p.253.
②Nathalie Cooke, Margaret Atwood: A Biography. p.7.
③Frantz Fanon, The Wretched of the Earth. p.148.
④Homi K. Bhabha, The Location of Culture. London and New York: Routledge, 1994, p.63.
①Margaret Atwood, Two-Headed Poems. Toronto: Oxford University Press, 1978, p.71.论文中关于《双头诗集》的引文均出自此书,只注明页码。下同。
①Margaret Atwood, The Robber Bride. p.43.
②Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.54.
③Ngugi wa Thiong’o, Decolonising the Mind: The Politics of Language in African Literature. Oxford: James Currey, 1986, p.9.
④Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.7.
①Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.8.
②参见Stephen Slemon的论文“Unsettling the Empire: Resistance Theory for the Second World”, in Unhomely States: Theorizing English-Canadian Postcolonialism. pp.139-150.
③关于这一说法参见John Skinner, The Stepmother Tongue: An Introduction to New Anglophone Fiction. New York: St. Martin’s Press, Inc., 1998.
④Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.136.
⑤Robert Kroetsch,“Unhiding the Hidden: Recent Canadian Fiction”, in The Lovely Treachery Words: Essays Selected and New. Toronto: Oxford University Press, 1989. p.58.
①Northrop Fyre, The Bush Garden: Essays on the Canadian Imagination. Toronto: House of Anansi Press Ltd., 1971, p.218.
②Bill Ashcroft , Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.140.
③Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.53.
④Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. pp.53-54.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. pp.141-142.
②艾勒克·博埃默:《殖民与后殖民文学》,盛宁韩敏忠译,沈阳:辽宁教育出版社,1998,第248页。
③Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.38.
①Ngugi wa Thiong’o,“Decolonising the Mind”, in Julie Rivkin & Michael Ryan, eds., Literary Theory: An Anthology. Malden, MA and Oxford: Blackwell, 2004, p.1135.
①有关“去神话化”的说法参见克罗齐的论文“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. pp.58-63.
②Robert Kroetsch,“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. p.58. Kroetsch在文章中写道:“我曾经认为加拿大作家的任务是为他的经历命名,成为命名者。我现在则觉得,相反,他的任务是反命名。”
①Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.54.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.209.
①Celia M. Britton, Edouard Glissant and Postcolonial Theory: Strategies of Language and Resistance. Charlottesville and London: University Press of Virginia, 1999, p. 180.
②Robert Kroetsch,“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. p.59.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.39.其中有关Raja Rao的引文出自Raja Rao, Kanthapura. New York: New Directions, 1938, p.vii.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.39.
②Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.55.
③Ibid.
④霍米·巴巴曾指出,模拟的目的是产生出某种居于与原体的相似与不似之间的“他体”,这种“他体”既带有“被殖民”的痕迹,同时又与本土话语糅为一体,因而在很大程度上蕴含着弘扬本土话语的第三世界文化策略。参见王宁《超越后现代主义》,北京:人民文学出版社,2002年,第45页。
①阿特伍德和李是大学同学,李后来成为安南西出版社(House of Anansi)的创办者之一,阿特伍德为它的发展倾注了很多心血,她的论著《幸存》就是由李编辑在安南西出版。因为此书,阿特伍德受到很多攻击,李与她并肩战斗,给予她很多精神上的帮助。
②Jim Davidson,“Where Were You When I Really Needed You”, in Margaret Atwood: Conversations. p.92.
③笔者在多伦多大学访问时曾与Linda Hutcheon教授进行过面谈,在谈到阿特伍德的语言时,Hutcheon教授就提出了这一看法。
④罗伯特·克罗齐在“Unhiding the Hidden: Recent Canadian Fiction”中指出,作家(包括他自己)对已接受的有关帝国概念的主张进行“反其道运用(uninvent)”,目的在于以加拿大的方式书写加拿大,解蔽(unhiding)被遮掩在一种“被借用”的外来词汇背后的加拿大。
⑤http://www.lib.hstc.edu.cn/resource/luxun/na.htm
①Margaret Atwood, The Animals in That Country. Toronto: Oxford University Press, 1968, p.11.论文中关于《该国动物》的引文均出自此书,只注明页码。下同。
①Carl Jung, Symbols of Transformation. Trans. R. F. C. Hull. Volume 1. New York: Harper and Brothers, 1956, p.15.
②Colin Nicholson,“Living on the Edges: Constructions of Post-colonial Subjectivity in Atwood’s Early Poetry”, in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.21.
①Linda Sandler,“Interview with Margaret Atwood”, Malahat Review: Margaret Atwood: A Symposium, 41 (1977): 14.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p. 163.
②Nathalie Cooke, Margaret Atwood: A Critical Companion. London: Greenwood Press, 2004, p.6.
①Margaret Atwood, The Robber Bride. p.34.
②Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.149.
③Margaret Atwood, Second Words: Selected Critical Prose. p.332.
④Margaret Atwood, Letter to Sharon Wilson. September 29, 1986.
①Ann Mandel,“Review of True Stories”, in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston: G. K. Hall & Co., 1988, p.248.
②Margaret Atwood, True Stories. Toronto: Oxford University Press, 1981, p.7.论文中有关《真实的故事》的引言均出自此书,只注明页码,下同。
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.184.
②Hilda Hollis,“Between the Scylla of Essentialism and the Charybdis of Deconstruction: Margaret Atwood’s True
Stories”, in Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels, p.137.
①Margaret Atwood, Interlunar. Toronto: Oxford University Press, 1984, p.72.论文中有关《新残月交替》的引言均出自此书,只注明页码,下同。
②Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.183.
③Margaret Atwood, Second Words: Selected Critical Prose. p.393.
①Margaret Atwood, Second Words: Selected Critical Prose. p.350.
②Samuel Chavkin, The Murder of Chile: Eyewitness Accounts of the Coup, the Terror, and the Resistance Today. New York: Everest House, 1982, p.231.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.183.
②Hilda Hollis,“Between the Scylla of Essentialism and the Charybdis of Deconstruction: Margaret Atwood’s True Stories”, in Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. p.142.
③Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.183.
②Le Anne Schreiber,“Female Trouble: An Interview,”Vogue, January 1986, 209.
③Interview with Margaret Atwood in Margaret Reynolds and Jonathan Noakes, Margaret Atwood: The Essential Guide. London: Vintage, 2002, pp.12-13.
①米歇尔·福柯:《规训与惩罚》,刘北成杨远婴译,北京:生活读书新知三联书店,1999年,第231页。
①这句话的原文为“Soothing to the eye, the eyes, the Eyes, for that’s who this show is for。此处eye为双关,既指“眼睛”,又指“眼目”。
②See Ben Pimlott’s introduction in George Orwell, Nineteen Eighty-Four (1949), Penguin, 1989, p.XII.
①米歇尔·福柯:《规训与惩罚》,第20页。
②《权力的眼睛——福柯访谈录》,严锋译,上海:上海人民出版社,1996年,第46页,47页。
①王苹,张建颖:“《使女的故事》中的权力与抵抗”,《外国语》2005年第1期,第74页。
①韦清琦:“假如昔日可以重来——《羚羊与秧鸡》译后随笔”,《译林》2005年第2期,第216页。
②玛格丽特·阿特伍德,《羚羊与秧鸡》,韦清琦、袁霞译,译林出版社,2004年版,第29页。论文中关于《羚羊与秧鸡》的引文均出于此书,只注明页码。下同。
③Compartmentalized world这个概念是由法农在The Wretched of the Earth中提出的。
④Frantz Fanon, The Wretched of the Earth. pp.4-5.
①Terry Eagleton, After Theory. New York: Basic Books, 2003, p.22.
②Katherine McKttrick, Demonic Grounds. Minneapolis and London: Minnesota Press, 2006, p.xv.
③Robert Reich, The Work of Nations. New York: Vintage, 1991, p.269.
④Benjamin R. Barber, Jihad vs. McWorld: How Globalism and Tribalism are Reshaping the World. New York: Ballantine, 1995, p.271.
①Theodore W. Allen, The Invention of the White Race: The Origin of Racial Oppression in Anglo-America. London: Verso, 1994, p.149.
①Margaret Atwood & Victor-Lévy Beaulieu, Two Solicitudes: Conversations. Translated by Phyllis Aronoff and Scott, Toronto, Ontario: McClelland & Stewart Inc, 1998, p.78.
①Nathalie Cooke, Margaret Atwood: A Biography. p.261.
②Margaret Atwood,“Witness is What You Must Bear”, with Beatrice Mendez-Eagle, in Earl Ingersoll, ed., Conversations. Princetong, NJ: Ontario Review, 1990, p.164.本段译文参考傅俊:《玛格丽特·阿特伍德研究》,第240页。
③圣安托万(St. Antoine)是小说中一个虚构的国名,从地理上讲相当于加勒比岛国圣露西亚(St. Lucia)。
④Margaret Atwood, Bodily Harm. Toronto: McClelland and Stewart-Bantam Limited, 1981, p.30.论文中关于《肉体伤害》的引文均出于此书,只注明页码。下同。
①爱德华·萨义德:《文化与帝国主义》,李琨译,生活·读书·新知三联书店,2007年版,第73页。
②潘守文:《民族身份的建构与解构——阿特伍德后殖民文化思想研究》,吉林大学出版社,2007年,第267-269页。
①Margaret Atwood, Second Words: Selected Critical Prose. p.282.
②Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings 1972-1977, Colin Gordon, ed.. New York: Pantheon Books, 1980, p.89.
③Margaret Atwood, Second Words: Selected Critical Prose. p.394.
④Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.172.
①Margaret Atwood, Power Politics. Toronto: Anansi, 1996, p.1.
②Helen Tiffin,“Voice and Form,”in Russell McDougall & Gillian Whitlock, eds., Australian/Canadian Literatures in English : A Comparative Perspective. North Ryde, NSW : Methuen, 1987, p.123.
③黛安娜?布莱登曾在论文“阿特伍德的后殖民想像:重读《肉体伤害》”(“Atwood’s Postcolonial Imagination:Rereading Bodily Harm”)中探讨了阿特伍德在小说中对后殖民问题的关注。这篇论文收录于Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. pp.89-116.
①Margaret Atwood, Second Words: Selected Critical Prose. p.396, p.301.
②“好运”和“命运”在小说中均为luck,有双关之意。
①Barbara Hill Rigney, Margaret Atwood. p.121.
①Robin Fisher, Contact and Conflict: Indian-European Relations in British Columbia, 1774-1890. Vancouver: University of British Columbia Press, 1977, p.xi.
②John Skinner在《继母的语言》(The Stepmother Tongue)中将加拿大英语小说作家主要分为两类:具有安大略传统的作家和具有大草原传统的作家,阿特伍德属于前者。
③参见潘守文:《民族身份的建构与解构》,第172-218页。
④Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.40.
①玛格丽特·阿特伍德:《可以吃的女人》,刘凯芳译,上海:上海译文出版社,1999年,第115页。论文中关于《可以吃的女人》的引文均出于此书,只注明页码。下同。
②Margaret Atwood, Dancing Girls. Toronto: McClelland & Stewart, 1976, p.47.论文中关于《跳舞的女孩们》的引文均出于此书,只注明页码。下同。
①Diana Brydon,“Beyond Violent Dualities: Atwood in Postcolonial Contexts”, in Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. p.52.
②Terry Goldie,“Semiotic Control: Native Peoples in Canadian Literature in English”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.200.
③Terry Goldie,“Semiotic Control: Native Peoples in Canadian Literature in English”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.200.
④Margaret Atwood, The Tent. New York: O. W. Toad, Ltd., 2006.参见本人在《外国文学动态》2007年第2期卷首页上的翻译。
①Augie Fleras & Jean Leonard Elliott, The Challenge of Diversity: Multiculturalism in Canada. Scarborough: Nelson, 1992, p.125.
②Donna Bennett,“English Canada’s Postcolonial Complexities”, in Unhomely States: Theorizing English-Canadian Postcolonialism, p.120.
③Tyler Tolaryk, Cultural Différence: Writing, Canada, Multiculturalism. Diss. University of Western Ontario, 1996, p.xxx.
④Daniel Francis, National Dreams: Myth, Memory, and Canadian History. Vancouver: Arsenal Pulp, 1997, p.83.
②Margaret Atwood, Life Before Man. Toronto: Bantam Books, 1979, p.219.论文中关于《人类以前的生活》的引文均出于此书,只注明页码。下同。
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.125.
②Barbara Hill Rigney, Margaret Atwood. p.97-98.
①Barbara Hill Rigney, Margaret Atwood. p.93.
②Cathy N. & Arnold E. Davidson,“Prospects and Retrospect in Life Before Man”, in Arnold E. Davidson & Cathy N. Davidson, eds., The Art of Margaret Atwood: Essays in Criticism. Toronto: House of Anansi Press Limited, 1981, p.217.
③Russell Brown,“Atwood’s Sacred Wells”, in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston, Mass.: G. K. Hall, 1988, p.215.
①Russell Brown,“Atwood’s Sacred Wells”, in Critical Essays on Margaret Atwood. p.215.
②傅俊:《玛格丽特·阿特伍德研究》,第403页。
①Ingersoll, Earl G., ed. Margaret Atwood: Conversations, p.76.
②Ingersoll, Earl G., ed. Margaret Atwood: Conversations, p.76.
①Edward Said, Orientalism. London and Henley: Routledge & Kegan Paul, 1978, p.285.
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.120.
②Linda Sandler,“Interview with Margaret Atwood,”Malahat Review 41 (January 1977): 24.
③“生命之网”指大自然是个类似网络的整体,自然万物之间相互依存、相互联系,因此牵一发而动全身,其中任何一种生命形式的灭亡都会使整个网络失去平衡,最终形成一张“死亡之网”。有关“生命之网”和“死亡之网”的概念参见胡志红:《西方生态批评研究》,北京:中国社会科学出版社,2006年,第266至279页。
①Margaret Atwood,“Hardball”, in Good Bones. London: Virago, 1993, p.93.
①Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.116.
①艾伦·退格(Alan Twigg)在一次访谈中询问阿特伍德在写作的过程中有没有意识到《人类以前的生活》是第一部表达人类有灭顶之虞的加拿大小说时,阿特伍德作了肯定的答复:“是的。这就是为什么小说以安大略皇家博物馆为背景。为什么(主人公)莱夏是研究恐龙的古生物学家。”参见Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.121.
①参见Lynn Hankinson Nelson, Who Knows: From Quine to a Feminist Empiricism. Philadelphia: Temple University Press, 1990.
②Northrop Frye,“Haunted by Lack of Ghosts”, in The Canadian Imagination, David Staines, ed.. Cambridge, Massachusetts & London, England: Harvard University Press, 1977, p.29.
③Donelle N. Dreese, Ecocriticism: Creating Self and Place in Environmental and American Indian Literatures. New York: Peter Lang Publishing, Inc., 2002, p.6.
④Margaret Atwood, Wilderness Tips. New York: Nan A. Talese/Doubleday, 1991, p.159.论文中关于《铅的时代》的引文均出于此书,只注明页码。下同。
①《异化的多种形式――对生态问题的一种哲学阐释》http://philo.ruc.edu.cn/pol04/Article/marxism/m_general/200509/1988.html
②前副总统艾尔·戈尔(Al Gore)在片中担当其主要角色,并获得了2007年2月颁发的奥斯卡奖。同年,戈尔著书《难以忽视的真相:世界变暖所引发的全球紧急状态,我们能为此做什么》(An Inconvenient Truth: The Planetary Emergency of Global Warming and What We Can Do About It),做了进一步的图片扩充和信息解说。戈尔孜孜不倦地向大众传递全球变暖的深远影响,并因此与联合国政府间气候变化专业委员会(Intergovernmental Panel on Climate Change)分享了2007年的诺贝尔和平奖。
③加拿大“绿党”于1983年成立,提倡绿色政治,主张环保,2007年时共有9000名成员,是加拿大目前最大的在国会中没有代表席位的联邦党。
④http://www.greenparty.ca/fr/node/3133
①Margaret Atwood, Writing with intent: essays, reviews, personal prose, 1983-2005. p.369.
②Mel Gussow,“Atwood’s Dystopian Warning: Hand-Wringer’s Tale of Tomorrow”, New York Times, 24 June 2003, P.B5.
③与之形成对照的是在另一部生态预警小说《地球之友》(A Friend of the Earth, 2000)中,美国作家博伊尔(Coraghessan T. Boyle)将无可救药的地球生态描绘为终日连绵不绝的暴雨天气。
①Margaret Atwood,“Writing Oryx and Crake”, Curious Pursuits: Occasional Writing 1970-2005. London: Virago Press, 2005, p.322.
②蕾切尔·卡逊:《寂静的春天》,吕瑞兰、李长生译,长春:吉林人民出版社,1997年,第48页。
①蕾切尔·卡逊:《寂静的春天》,第73页。
②2008年4月21日的《纽约时报》(The New York Times)发表了一篇文章《PETA的最新策略:100万美元奖励人造肉》(“PETA’s Latest Tactic: $1 Million for Fake Meat”),阿特伍德在小说中描写的人造鸡肉的培养已经不再是新鲜事。该文指出,“从试管中得到下一代‘麦乐鸡’的想法并不新鲜。几年来,科学家们一直在搞研发,进行组织培养,在不消耗土地或饲料,并且不像生产真正肉类会有疾病可能的情况下,产出食用起来类似肉类的物质……这种组织一旦培养起来,其形状和质地会带有各种添加剂和组织剂的特征,这些添加剂和组织剂目前用在素汉堡产品中,能使它们具有更多肉的质地。”参见http://www.nytimes.com/2008/04/21/us/21meat.html
①Margaret Atwood, The Door. Toronto: McClelland and Stewart, 2007, pp.52-53.
②Nathalie Cooke, Margaret Atwood: A Biography. p.291.
①弗洛姆:《逃避自由》,陈学明译,北京:工人出版社,1987年,第159页。
①谭言红:“逃离异化的空间:评玛格丽特·阿特伍德《使女的故事》和《羚羊与秧鸡》”,《重庆文理学院学报》,2006年第11期,第82页。
①陈小蔚:“一部反映未来的现实小说——玛格丽特·阿特伍德《使女的故事》评析”,《当代外国文学》,2003年第1期,第166页。
①杨莉馨:“‘反乌托邦’小说的一部杰作——论玛格丽特·阿特伍德的新作《羚羊与秧鸡》”,《南京师范大学文学院学报》,2005年第2期,第60页。
②《马克思恩格斯全集》第12卷,中共中央马克思、恩格斯、列宁、斯大林著作编译局译,北京:人民出版社,1965年,第4页。
①阿特伍德在关于《羚羊与秧鸡》的一次访谈中说道:“如果我是《圣经》中的上帝,我会很不安。他创造了一切,并且认为这一切都是美好的。但现在人们正在这件艺术品上到处胡乱涂改。”参见傅俊:《玛格丽特·阿特伍德研究》,第429页。
①转引自Margaret Atwood,“Writing Oryx and Crake”, http://www.owtoad.com/,原文最初由阿特伍德于2003年1月为“本月好书俱乐部”所写。
②“An Interview with Margaret Atwood”. http://www.owtoad.com/转引自《玛格丽特·阿特伍德研究》,第430页。
③哈贝马斯:《作为“意识形态”的技术与科学》,李黎郭官义译。上海:学林出版社,1999年。
④“An Interview with Margaret Atwood”. http://www.owtoad.com/转引自《玛格丽特·阿特伍德研究》,第430页。
①Margaret Atwood,“In the Field,”with M. T. Kelly, in Leanna Crouch, ed., One and One: The Imprint Interview. Toronto: Somerville House, 1994, p.157.
①Margaret Atwood,“Writing Oryx and Crake”. Curious Pursuits: Occasional Writing 1970-2005. p.323.
②Steven Best & Douglas Kellner, The Postmodern Adventure: Science, Technology, and Cultural Studies at the Third Millennium. New York: Guilford Press, 2001, p.143.
①Delia O’Hara,“Atwood’s Novel Paints Bleak Picture of World”, Chicago Red Streak, 5 June 2003
②Lawrence Buell, Writing for an Endangered World: Literature, Culture, and Environment in the U. S. and Beyond. Massachusetts: Harvard University Press, 2001, p.2.
③Margaret Atwood,“Writing Oryx and Crake”, in Moving Targets: Writing with Intent, 1982-2004. p.330.
④乔治·格兰特:《科学技术和帝国》,转引自秦明利译《生存:加拿大文学主题指南》,第37页。
①何怀宏主编,《生态伦理——精神资源与哲学基础》,保定:河北大学出版社,第337页。
②Northrop Frye,“Haunted by Lack of Ghosts”, in Mythologizing Canada: Essays on The Canadian Literary Imagination, ed. Branko Gorjup. Ottawa: Legas, 1997, p.121.
③转引自王诺:《欧美生态文学》,北京:北京大学出版社,2003年,第171页。
①Val Plumwood,“Decolonizing Relationships with Nature”, in Bill Ashcroft, et al, eds., Post-Colonial Studies Reader (2nd edition). London and New York: Routledge, 1995, p.505.
①Margaret Atwood,“Don’t Expect the Bears to Dance”, Maclean’s, June 1975, p.68.
①谢葵:“呼唤人与自然的和谐:玛格丽特·阿特伍德《浮现》中的生态思想”,《国际关系学院学报》,2007年第1期,第56页。
②蔡奂:“技术统治与生态灾难:试析反乌托邦生态小说《羚羊与秧鸡》”,《世界文学评论》,2007年第1期,第127页。
①弗罗姆:《占有或存在》,杨慧译,北京:国际文化出版公司,1989年,第1页。
②关于“同质”和“排他”的说法参考Val Plumwood的文章“Decolonizing Relationships with Nature”。
③胡志红:《西方生态批评研究》,第82页。
④Marie-Claire Blais,“Afterword”, in Margaret Atwood, Surfacing. p.194.
①赵鑫珊:《大自然的诗化哲学》,上海:文汇出版社,2000年,第77页。
②转引自Greg Garrard, Ecocriticism, New York: Routledge, 2004, p.102.
③李泽厚:《批判哲学的批判:康德述评》,北京:人民出版社,1979年,第333页。
④黑格尔:《历史哲学》,王造时译,北京:商务印书馆,1963年,第62页。
①赫尔曼·戴利等编:《珍惜地球——经济学、生态学、伦理学》,马杰等译,北京:商务印书馆,2001年,第179页。
②为了向加拿大总督文森特·梅西表示敬意,人们于1961年起组织了“梅西系列演讲”活动,它是加拿大一年一次的重要学术活动。在此期间,加拿大或国际著名学者就政治、文化或哲学话题进行为期一周的演讲。
③斯克鲁奇(Scrooge)是狄更斯于1843年发表的小说《圣诞欢歌》(Christmas Carol)中的人物。
①Margaret Atwood, Payback: Debt and the Shadow Side of Wealth. Toronto: House of Anansi Press Inc., 2008, p.106. 论文中关于《偿还》的引文均出自此书,只注明页码。下同。
①http://www.reuters.com/article/lifestyleMolt/idUSTRE48S4X020080929?pageNumber=2&virtualBrandChannel=0
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.16.
②转引自罗尔斯顿:《环境伦理学》,杨通进译,北京:中国社会科学出版社,2000年,第1页。
③李培超:《自然的伦理尊严》,南昌:江西人民出版社,2001年,第128页。
①Murray Bookchin, The Ecology of Freedom: The Emergence and Dissolution of Hierarchy. Palo Alto, 1982, p.1.
②引自“百度百科”,http://baike.baidu.com/view/606321.htm
③Victoria Davion,“Is Ecofeminism Feminist?”in Karen J. Warren ed., Ecological Feminism, London & New York: Routledge, 1994, pp.10-11.
①此处译文参考傅俊:《玛格丽特·阿特伍德研究》,第366页。
②阿特伍德在《幸存》中指出,大自然的规律错综复杂具有曲线性,人类的秩序则趋向正方形、长方形、直线及类似形状,他们所面临的问题是如何使直线适合于曲线形的宇宙,但是大自然往往不需要这种直线。参见Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. pp.120-124.
③Atwood, Margaret. The Animals in That Country. p.36.
①Lois C. Gottlieb and Wendy Keitner.“Colonialism as Metaphor and Experience in The Grass is Singing and Surfacing”, in C. D. Narasimhaiah, ed., Awakened Conscience: Studies in Commonwealth Literature. New Delhi: Sterling, 1978, p.311.
②King Ynestra,“The Ecology of Feminism and the Feminism of Ecology,”in Judith Plant, ed., Healing the Wounds: The Promise of Ecofeminism. Philedelphia: New Society Publishers, 1989, p.23.
③Karen Warren,“Taking Empirical Data Seriously: An Ecofeminist Philosophical Perspective,”in Karen Warren, ed., Ecofeminism: Women, Culture, and Nature. Bloomington: Indiana University Press, 1997, p.12.
④薛冰莲:“阿特伍德小说《浮现》的生态批评解读”,《徐州教育学院学报》,2006年第12期,第127页。
①Kate Fullbrook,“Margaret Atwood: Colonisation and Responsibility,”Free Women: Ethics and Aesthetics in Twentieth-Century Women’s Fiction. Philadelphia:Temple University Press, 1990, p.188.
②William Leiss, The Domination of Nature, Boston: Beacon Press, 1974, Preface, p.xiii.
③William Leiss, The Domination of Nature. p.xvi
①John Passmore, Man’s Responsibility for Nature: Ecological Problems and Western Traditions (2nd ed), London: Gerald Duckworth & Co. L td. , 1980, p.13.
②韦清琦:“假如昔日可以重来:《羚羊与秧鸡》译后随笔”,第216页。
①T. V. Reed,“Toward An Environmental Justice Ecocriticism,”in Joni Adamson, Mei Mei Evans & Rachel Stein, eds., The Environmental Justice Reader: Politics, Poetics, & Pedagogy. Tucson: The University of Arizona Press, 2002, p.155.
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王苹、张建颖,“《使女的故事》中的权力与抵抗”,《外国语》,2005年第1期,pp.72-77。
王岳川,《中国镜像——九十年代文化研究》,北京:中央编译出版社,2001。
韦清琦,“阿特伍德的《珀涅罗珀记》——一部女书”,《世界文学》,2006年第1期,pp.282-295。
——,“假如昔日可以重来——《羚羊与秧鸡》译后随笔”,《译林》,2005年第2期,pp.213-216。
西蒙娜·德·波伏瓦,《第二性》,桑竹影等译,长沙:湖南文艺出版社,1986年。
谢葵,“呼唤人与自然的和谐:玛格丽特·阿特伍德《浮现》中的生态思想”,《国际关系学院学报》,2007年第1期,pp.52-57。
薛冰莲,“阿特伍德小说《浮现》的生态批评解读”,《徐州教育学院学报》,2006年12期,pp.126-128。
杨莉馨,“‘反乌托邦’小说的一部杰作——试论玛格丽特·阿特伍德的新作《羚羊与秧鸡》”,《南京师范大学文学院学报》,2005年第2期,pp.59-62。
——,“女性主义烛照下的经典重述——评玛格丽特·阿特伍德的小说《珀涅罗珀记》”,《当代外国文学》,2006年第4期,pp.134-139。
杨如英,《跨越疆界: <强盗新娘>中的文类、性别、国家议题》。http://www.eng.fju.edu.tw/canada/paper/Robber_Bride.htm
袁霞,“评玛格丽特·阿特伍德新作《帐篷》”,《外国文学动态》,2007年第3期,pp.4-7。
——,“植根故土,情牵世界——玛格丽特·阿特伍德45年创作生涯回顾”,《译林》,2007年第5期,pp.206-209。
——,“古希腊戏剧艺术与现代电影技巧的融合——评话剧《珀涅罗珀记》”,《电影文学》,2008年第20期,pp.138-139。
约翰·坎尼,《最有价值的阅读:西方视野中的经典》,徐进夫等译,天津:天津教育出版社,2006年。
曾晓覃,“阿特伍德新作《珀涅罗珀记》的叙事策略”,《当代外国文学》,2007年第2期,pp.106-111。
赵鑫珊,《大自然的诗化哲学》,上海:文汇出版社,2000年。
②玛格丽特·阿特伍德:《使女的故事》,陈小慰译,南京:译林出版社,2001年,第175页。
③Northrop Frye, The Educated Imagination. Bloomington: Indiana University Press, 1964, pp.48-49.
①Margaret Atwood, Survival: A Thematic Guide to Canadian Literature. Toronto: House of Anansi Press Limited, 1972, p.32.论文中有关《幸存》的引文均出自此书,只注明页码。文中有些译文参考了秦明利译本(《生存:加拿大文学主题指南》,北京:中国文联出版公司,1991年)。
①Frantz Fanon, The Wretched of the Earth, 1963. Translated from the French by Richard Philcox. New York: Grove Press, 2004, p.vii.
②Bill Ashcroft, Gareth Griffiths and Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. London and New York: Routledge, 1989, p.33.
①爱德华·W·赛义德:《文化与帝国主义》,李琨译,北京:生活·读书·三联书店,2003年,第305页。
②爱德华·W·赛义德:《文化与帝国主义》,第322页。
③Donna Bennett,“English Canada’s Postcolonial Complexities,”in Cynthia Sugars, ed., Unhomely States: Theorizing English-Canadian Postcolonialism. Toronto: Broadview Press, 2004, p.110.
④这一说法由Wilson Harris在其1960年出版的Palace of the Peacock (London: Faber & Faber)中提出。
⑤评论界对阿特伍德是否为后殖民作家有过争议。有些批评家指出,阿特伍德是个白人作家,从某种意义上说她的思想是帝国意志的延伸。但是笔者认为,界定后殖民性与文化有着更为密切的联系。从文化意义上讲,和印度等国家相比,加拿大作为移民殖民地与宗主国具有更加复杂微妙的关系。它一方面不愿意放弃与母国的联系,一方面又要不断重申自己的身份。因此,把阿特伍德放到加拿大作为后殖民国家这个语境中来具有重要意义。
①Karla Hammond,“Defying Distinctions,”in Earl G. Ingersoll, ed., Margaret Atwood: Conversations. London: Virago Press Limited, 1992, p.102.
①参见Richard Terdiman, Discourse/Counter-discourse: The Theory and Practice of Symbolic Resistance in Nineteenth-Century France. Ithaca and London: Cornell University Press, 1985.
②Helen Tiffin,“Post-colonial Literatures and Counter-discourse”, in Bill Ashcroft, Gareth Griffiths and Helen Tiffin, eds., The Post-Colonial Studies Reader. London and New York: Routledge, 1995, p. 96.
③Peter Childs & Patrick Williams, An Introduction to Post-Colonial Theory. New York: Prentice Hall/ Harvester-Wheatsheaf, 1997, p.123.
④Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. New York: Camden House, 2000, p.253.
⑤“属下”一说见Gayatri Chakravorty Spivak,“Can the Subaltern Speak?”In Cary Nelson & Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. Urbana: University of Illinois Press, 1988, pp.271-313.
⑥“叙述的许可”一说见Edward Said,“Permission to Narrate,”Journal of Palestine Studies 13.3 (1984): 27-48.
⑦Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.52.
⑧Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.53.
⑨Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.55.
①Margaret Atwood, Second Words: Selected Critical Prose. New York: O. W. Toad Limited, 1982, p.147.
②Margaret Atwood, Second Words: Selected Critical Prose. p.349.
③Margaret Atwood,“Surviving the Critics”, This Magazine is About Schools (1973), p.33.
④Margaret Atwood, Second Words: Selected Critical Prose. pp.348-349.
①这本论文集的名字为《马拉哈评论:玛格丽特·阿特伍德:专题论文集》(The Malahat Review: Margaret Atwood: A Symposium)。
②Linda Sandler, Preface, Margaret Atwood: A Symposium, ed. Linda Sandler, The Malahat Review 41 (January 1997): p.5.
①Sherrill E Grace,“Articulating the‘Space Between’: Atwood’s Untold Stories and Fresh Beginnings,”in Sherrill E Grace and Lorraine Weir, eds., Margaret Atwood: Language, Text, and System. Vancouver: University of British Columbia Press, 1983, pp.1-16.
②Eli Mandel,“Atwood’s Poetic Politics,”in Margaret Atwood: Language, Text, and System. pp.53-56.
③Judith McCombs,“Introduction,”in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston, Mass.: G. K. Hall, 1988, pp.1-28.
①Colin Nicholson,“Introduction,”in Colin Nicholson, ed., Margaret Atwood: Writing and Subjectivity: New Critical Essays. New York: St. Martin’s Press, 1994, pp.1-10.
②Colin Nicholson,“Living on the Edges: Constructions of Post-Colonial Subjectivity in Atwood’s Early Poetry,”in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.15.
①Diana Brydon,“Atwood’s Postcolonial Imagination: Rereading Bodily Harm,”in Lorraine M. York, ed., Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. Toronto: House of Anansi Press Limited, 1995, pp.87-116.
②Sharon Rose Wilson,“Mythological Intertexts in Margaret Atwood’s Works”, in Reingard M.Nischik, ed., Margaret Atwood: Works and Impact. New York: Camden House, 2000, pp.215-228.
③Sharon Rose Wilson,“Introduction”, in Sharon Rose Wilson, ed., Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. Columbus: The Ohio State University Press, 2003, pp.xi-xv.
①关于《使女的故事》的评论可以说汗牛充栋,大部分都是从女性主义的角度研究。以单行本出现的论著包括:哈罗德·布卢姆(Harold Bloom)主编的《玛格丽特·阿特伍德的<使女的故事>》( Margaret Atwood’s The Handmaid’s Tale);玛塔·德福瑞克(Marta Dvorak)主编的《<使女的故事>:玛格丽特·阿特伍德》(The Handmaid’s Tale: Margaret Atwood);李·布里斯科·托马森(Lee Briscoe Thomason)的论著《红字:玛格丽特·阿特伍德的<使女的故事>》(Scarlet Letters: Margaret Atwood’s The Handmaid’s Tale)等。
①Klaus Peter Müller,“Re-Constructions of Reality in Margaret Atwood’s Literature: A Constructionist Approach”, in Margaret Atwood: Works and Impact. pp.229-255.
②目前玛格丽特·阿特伍德的作品被译成中文的有:《生存:加拿大文学主题指南》,秦明利译,中国文联出版公司1991年出版;《浮现》,蒋丽珠译,译林出版社1999年出版;《可以吃的女人》,刘凯芳译,上海译文出版社1999年出版;《使女的故事》,陈小慰译,译林出版社2001年出版;《猫眼》,杨昊成译,译林出版社1989年出版;《别名格雷斯》,梅江海译,译林出版社1998年出版;《盲刺客》,韩忠华译,上海译文出版社2003年出版;《羚羊与秧鸡》,韦清琦、袁霞译,译林出版社2004年版;《珀涅罗珀记》,韦清琦译,重庆出版社2005年出版;《与死者协商》,严韻译,上海三联书店2007年版。
①潘守文的博士论文已于2007年由吉林大学出版社出版。
①劳伦斯·布依尔,韦清琦:“打开中美生态批评的对话窗口——访劳伦斯·布依尔”,《文艺研究》,2004年第1期,第67页。
①鲁枢元:《生态文艺学》,西安:陕西人民教育出版社,2000年,第37页。
①Benita Parry, Postcolonial Studies: A Materialist Critique. London and New York: Routledge (Taylor & Francis Group), 2004, p.37.
②Sally McCornell-Ginet & Ruth Borker, eds., Women and Language in Literature and Society. New York, 1986, p.65.
③Bharati Mukherjee,“Mimicry and Reinvention,”in Uma Parameswaran, ed., The Commonwealth in Canada. Calcutta: Writers Workshop Greybird, 1983, p.151.
①玛格丽特·阿特伍德:《使女的故事》,陈小慰译,第155页。论文中关于《使女的故事》的引文均出于此书,只注明页码。下同。
②顾铮:“为底层的视觉代言与社会进步”,《天涯》,2004年第6期,第18页。
①阿特伍德曾写过一篇文章“伟大的姨妈们”(“Great Aunts”)(参见Writing with Intent: Essays, Reviews, Personal prose, 1983-2005. New York : Carroll & Graf Publishers, 2005),提到了母亲家族强烈的女性意识对她所造成的影响,显然为她后来的女权主义倾向奠定了基础。
②当时在哈佛大学,女研究生门承担着在课间休息分发茶点的服务工作,而且那时候的拉蒙特图书馆(the Lamont Library)不允许女性涉足。参见Nathalie Cooke, Margaret Atwood: A Biography. Toronto: ECW Press, 1998.
③Margaret Atwood,“Dancing on the Edge of the Precipice”, with Joyce Carol Oates, in Margaret Atwood: Conversations. p.77.
④转引自Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. p.126.
①Margaret Atwood, The Circle Game. Toronto: House of Anansi Press, 1966, p.16.论文中关于《圆圈游戏》的引文均出自此书,只注明页码。下同。
②Karen F. Stein, Margaret Atwood Revisited. Twayne’s World Authors Series No. 887, Robert Locker, ed.. New York: Twayne, 1999, p.7.
③Justine Cassell,“Storytelling as a Nexus of Change in the Relationship between Gender and Technology: A Feminist Approach to Software Design”, in Justine Cassel and Henry Jenkins, eds., From Barbie to Mortal Kombat: Gender and Computer Games. Cambridge, MA: MIT Press, 1998, p.310.
①Margaret Atwood,“Gertrude Talks Back.”韩媛媛译,傅俊校。《当代外国文学》,2006年第3期,第8页。
②引自Twentieth-Century Literary Criticism, Vol. 114. Detroit: Gale Group, 1999, p.240.
③引自Twentieth-Century Literary Criticism, Vol. 114. p.240.
④参见罗岗:“在教室里还有“经典”吗?”http://nhgz.nhedu.net/swm/ReadNews.asp?NewsID=291。
①Joe Weixlmann,“Opinion: Dealing with the Demands of an Expending Literary Canon”, in Twentieth-Century Literary Criticism, Vol. 114. p.247.
②Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.33.
③转引自Neil Templeton,“Othering and Writing Back”. http://www.qub.ac.uk/schools/SchoolofEnglish/imperial/transnational/Othering.html
④参见西蒙娜·德·波伏娃的《第二性》,桑竹影、南珊译,长沙:湖南文艺出版社,1988年版。波伏娃指出,英文中某些单词的构词法能够表现男女不平等的地位,比如历史的拼写法“history”,即“his story”(男性的故事),却并非“herstory”:“her story”(女性的故事),由此可见,女性没有独立的历史体系,甚至在历史中并没有女性的地位。
①L. Louis Martz, ed., H. D. Collected Poems 1919-1944. New York: New Directions Publishing Corporation, 1983, pp.111, 118, 120.
②Cosman Carol, John Keefe and Kathleen Weaver, eds., The Penguin Book of Women Poets. Harmondsworth, Middlesex, England: Penguin Books Ltd, 1980, p.343.
③虽然夏洛特·勃朗特是女作家,但她本身也是男权社会的受害者,她在出版作品时甚至都不敢署上自己的真名,害怕读者因为知道作者是女性而提出异议,在这种情况下,她的小说自然会打上男性话语的烙印。
④王岳川:《中国镜像——九十年代文化研究》,北京:中央编译出版社,2001,第273页。原文链接:http://www.yuedu.org/thread-41144-1-13.html
⑤参见Margaret Atwood, The Robber Bride. Toronto: McClelland & Stewart Inc., 1993, p.331.
①引自艾伦·古尔德(Allan Gould)对阿特伍德的采访。http://www.allangould.com/magazines/interviews/margaretatwood/magazines_interviews_margaretatwood.html
②刘晓静:“重塑女神——玛格丽特·阿特伍德诗中的神话解析”,《当代外国文学》,2002年第2期,第126页。
③傅俊:《玛格丽特·阿特伍德研究》,南京:译林出版社,2003年,第406页。
④Margaret Atwood, Bones and Murder. London: Virago Press, 1995, p.70.
①Pilar Cuder Dominguez,“Rewriting Canonical Portrayals of Women: Margaret Atwood’s‘Gertrude Talks Back’”, October, 2003. http://www.english-literature.org/essays/atwood-gertrude.html
②笔者曾在《世界文学》2008年第2期上发表过短篇小说集《帐篷》的选译,其中包括“嗓音”、“莎乐美是个舞蹈家”、“小鸡仔走得太远啦”、“我们的猫进了天堂”、“炖袋狼肉”、“我迟迟不愿下笔的三部小说”、“霍拉旭的叙述”、“夜莺”、“帐篷”和“树婴”,第232-255页。
③Margaret Atwood, The Tent. New York: O. W. Toad, Ltd., 2006, p.49.论文中关于《帐篷》的引文均出于此书,只注明页码。下同。
④袁霞:“评玛格丽特·阿特伍德新作《帐篷》”,《外国文学动态》,2007年第3期,第5页。
①约翰·坎尼编:《最有价值的阅读:西方视野中的经典》,徐进夫等译,天津:天津教育出版社,2006年,第1页。
②转引自Reingard M. Nischik, ed., Margaret Atwood: Works and Impact. p.247.参见脚注17。
①Margaret Atwood, Selected Poems:1966-1984. Toronto: Oxford University Press: 1990, p.165.论文中引文处只注明页码。下同。
①Gayatri Chakravorty Spivak,“Can the Subaltern Speak?”In Cary Nelson & Lawrence Grossberg, eds., Marxism and the Interpretation of Culture. pp.271-313.
①Coral Ann Howells在2006年第32期《悉尼英语研究》(Sydney Studies in English)杂志上发表的“五种阅读《珀涅罗珀记》的方式”(“Five Ways of Looking at The Penelopiad”)中提到《帕涅罗帕记》是对神话的修订。韦清琦的“阿特伍德的《珀涅罗珀记》——一部女书”(《世界文学》2006年第1期)、陈榕的“阿特伍德《帕涅罗帕记》中对古希腊合唱团传统的改写”(《当代外国文学》,2006年第3期)、杨莉馨的“女性烛照下的经典重述”(《当代外国文学》,2006年第4期)以及曾晓覃的“阿特伍德新作《珀涅罗珀记》的叙事策略”(《当代外国文学》2007年第2期)都从女性主义视角出发,指出《帕涅罗帕记》是对《奥德赛》的改写和颠覆。
①《珀涅罗珀记》,韦清琦译,重庆:重庆出版社,2005年,第3页。论文中关于《珀涅罗珀记》的引文均出于此书,只注明页码。下同。
② http://www.randomhouse.ca/catalog/display.pperl?isbn=9780676974188
③《奥德赛》,王焕生译,北京:人民文学出版社,1977年,第420页。
①Atwood Margaret, Good Bones. Toronto: Coach House Press, 1992, p.25. See also Sharon R. Wilson,“Fiction Flashes: Genre and Intertexts in Good Bones”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. pp.18-41.②Margaret Atwood, The Handmaid’s Tale. Toronto: McClelland and Stewart Limited, 1985, p.240.这句话为《使女的故事》中的女主人公所说,她认为,她们这些作为使女的女性将在未来的历史中销声匿迹。而《奥德赛》中关于女仆们的记录印证了这一点。
③Margaret Atwood,“The Myths and Me”, Read: Life with Books (Random House) 6.1 (2005), 35.
④Guy Dixon,“A Desperate Housewife in Ancient Greece: Interview with Margaret Atwood”, The Globe and Mail: Review, 22 October 2005, p.12.
①韦清琦:“阿特伍德的《珀涅罗珀记》——一部女书”,《世界文学》,2006年第1期,第287页。
②Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.33.
①参见Catherine Lappas的硕士论文电子版:Rewriting Fairy Tales: Transformation as Feminist Practice in the Nineteenth and Twentieth Centuries. UMI Company, 1995, p.68.
①Linda Hutcheon, A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Routledge, 1985, p.20.
②转引自Catherine Lappas的硕士论文电子版:Rewriting Fairy Tales: Transformation as Feminist Practice in the Nineteenth and Twentieth Centuries. p.74.
①Margaret Atwood, Bluebeard’s Egg and Other Stories. Boston: Houghton Mifflin Company, 1986, p.134.论文中关于《蓝胡子的故事》的引文均出于此书,只注明页码。下同。
①关于“碎片化”和“肢解人体”的观点参见Sharon Rose Wilson, Thomas B. Friedman & Shannon Hengen, eds., Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. New York: The Modern Language Association of America, 1996, p.136.
①Margaret Atwood, Alias Grace. London: Bloomsbury Publishing Plc, 1996, p.353.论文中关于《别名格雷斯》的引文均出于此书,只注明页码,其中有些引文参考梅江海译本(译林出版社,1998年)。
②Sharon R.Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.125.
④Lenice Ingram Bacon, American Patchwork Quilts. New York: William Morrow, 1973, p.70.
⑤Lucy Lippard,“Up, Down and Across: A New Frame for New Quilts”, in Charlotte Robinson, ed., The Artist and the Quilt. New York: Knopf Press, 1983, p.18.
①Karen R.Warren, Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters. Lanham·Boulder·New York·Oxford: Rowman & Littlefield Publishers, Inc., 2000, p.68.
②Sharon R.Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.125.
①Margaret Atwood, The Journals of Susanna Moodie. Toronto: Oxford University Press, 1970, p.7.译文参考傅俊:《玛格丽特·阿特伍德研究》,第363-364页。
①Margaret Atwood, The Robber Bride, p.3.论文中关于《强盗新娘》的引文均出自此书,只注明页码。下同。
①程锡麟、王晓路:《当代美国小说理论》,北京:外语教学与研究出版社,2001年,第168页。
①Patricia Paillot在论文“结合还是不要结合:《盲刺客》中的讽刺”(“To Bind or Not to Bind: Irony in The Blind Assassin by Margaret Atwood”)中提出:“俄罗斯套娃式的内嵌性叙事结构遵循的是倒置和似非而是的总体构架,它们逐渐互相影响:两种明显分散的叙事板块变成了越来越流畅的体系,《盲刺客》成为了一种隐喻,象征了《盲刺客》中所描述的加拿大社会的衰落和深刻变化。”该论文出自Etudes Canadiennes / Canadian Studies, No. 53, 2002, pp.117-26。
②参见《盲刺客》,韩忠华译,上海:上海译文出版社,2003年,译序第3页。
②Earl G. Ingersoll,“Engendering Metafiction: Textuality and Closure in Margaret Atwood’s Alias Grace”, in American Review of Canadian Studies (Autumn 2001): 385-401.
③Margaret Atwood, In Search of Alias Grace: On Writing Canadian Historical Fiction. Ottawa: University of Ottawa Press, 1997, p.19.
①Margaret Atwood, In Search of Alias Grace: On Writing Canadian Historical Fiction. pp.6-7.
②参见毕凤珊:“百衲被:加拿大文化与女性身份的载体”,《天津外国语学院学报》,第12卷第4期,2005年7月,第65-69页。
①潘守文:“从《别名格雷斯》看阿特伍德的逃生哲学”,《北京第二外国语学院学报》(外语版),2006年第10期,第53-57页。
②Gina Wisker, Margaret Atwood’s Alias Grace. New York: The Continuum International Publishing Group Inc, 2002, p.38.
①Margaret Rogerson,“Reading the Patchworks in Alias Grace”, Journal of Commonwealth Literature, 33, 1 (1998): 5-22.
②Tomoko Kuribayashi,“‘A mouse in the castle of the tigers…might become a tiger’: Victims, Survivors, and Narratives in Alias Grace and The Blind Assassin”, in Margaret Atwood Studies, vol 1, no 1, September 2007, p.25.
③傅俊,《玛格丽特·阿特伍德研究》,第318页。
①Sharon Rose Wilson,“Quilting as Narrative Art: Metafictional Construction in Alias Grace”, in Margaret Atwood’s Textual Assassinations: Recent Poetry and Fiction. p.133.
②Gillian Siddall,“That Is What I Told Dr. Jordan…’: Public Constructions and Private Disruptions in Margaret Atwood’s Alias Grace”, Essays on Canadian Writing 81 (2004), p.97.
①Jennifer Murray,“Historical Figures and Paradoxical Patterns: the Quilting Metaphor in Margaret Atwood’s Alias Grace”, Studies in Canadian Literature, 26, 1 (2001): 65-83.
②Coral Ann Howells, Margaret Atwood. New York: St. Martin’s Press, 1996, p.17.
①杨莉馨:“女性烛照下的经典重述——评玛格丽特·阿特伍德的小说《珀涅罗珀记》”,《当代外国文学》,2006年第4期,第138页。
②韦清琦:“阿特伍德的《珀涅罗珀记》——一部女书”,《世界文学》,2006年第1期,第292页。
③Coral Ann Howells,“Five Ways of Looking at The Penelopiad”, in Sydney Studies in English Vol. 32, 2006, pp.5-18.
①Marina Warner,“Atwood dips into Plath depths”, The Globe and Mail October 2, 1993: C24.
②Jennifer Enos,“What’s in a Name? Zenia and Margaret Atwood’s The Robber Bride.”Newsletter of the Margaret Atwood Society 15 (Fall/Winter 1995): 14.论文作者认为,赞妮亚(Zenia)的名字是三个女人名字的合成:Z来自罗兹(Roz)的最后一个字母,en来自切丽思原先的名字karen,而ia来自托尼的原名Antonia。
①Karen F. Stein, Margaret Atwood Revisited. p.98.
②Ibid. p.100.
③傅俊:《玛格丽特·阿特伍德研究》,第273页。
②Phyllis Sternberg Perrakis,“Atwood’s The Robber Bride: The Vampire as Intersubjective Catalyst”, in Harold Bloom, ed., Margaret Atwood. Philadelphia: Chelsea House Publishers, 2000, p.206.
①杨如英:《跨越疆界:<强盗新娘>中的文类、性别、国家议题》。http://www.eng.fju.edu.tw/canada/paper/Robber_Bride.htm
②Karen F. Stein, Margaret Atwood Revisited. p.102.
③Graeme Gibson, Eleven Canadian Novelists. Toronto: Anansi, 1973, p.27.
④这一点在《强盗新娘》的电影版中显得更为直白。电影中增添了两位男性——亨利和约翰,亨利是赞妮亚的男友,他时常折磨赞妮亚,赞妮亚制造出自己被亨利杀害的假象,让他被关入大牢,亨利请朋友约翰帮助自己澄清事实,约翰去调查托尼、切丽思和罗兹,她们三人心里明白赞妮亚没有死,但是还是帮助赞妮亚躲了起来。该电影由苔西·卡梅伦(Tassie Cameron)根据阿特伍德的小说进行改编、大卫·埃文斯(David Evans)执导,于2007年1月上映。影片获得了“埃美奖(Emmy Awards)”最佳女演员奖提名。
①Diana Brydon & Helen Tiffin, Decolonising Fictions. Sydney: Dangaroo, 1993, p.63.
②Helen Gilbert & Joanne Tompkins, Post-Colonial Drama. London and New York: Routledge, 1996, p.283.
③David Staines, The Canadian Imagination. Harvard University Press, 1977, p.9.
④转引自Eva-Marie Kr?ller, ed., The Cambridge Companion to Canadian Literature. Cambridge University Press, 2004, pp.179-180.
①加拿大政府一方面通过“加拿大广播公司(CBC)”和加拿大立法班子,一方面通过直接资助出版商,发起了一场持久战,成功地在加拿大创造了一个文学团体。当时加拿大涌现出了一批新兴的出版机构,包括安南西出版社(House of Anansi)、奥伯龙出版社(Oberon)、新出版社(New Press)、科齐出版社(Coach House)和ECW出版社等,这些出版机构的出现改变了文学界的内部结构。
②这些作家中有很多后来在加拿大文学界取得了突出成就,除了阿特伍德之外,还有玛格丽特·劳伦斯(Margaret Laurence)、鲁迪·维厄伯(Rudy Wiebe)、罗伯特·克罗齐、艾丽丝·蒙罗(Alice Munro)和麦克尔·翁达杰(Michael Ondaatje)等。
③Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.78.
④Margaret Atwood,“Dancing on the Edge of the Precipice”, with Joyce Carol Oates, in Margaret Atwood: Conversations. p.77.
①阿特伍德在《幸存》中写道:“如果一个国家或是一种文化缺少这样的镜子,它便没有办法看清自己是什么模样,它只好盲目旅行。假如在一个国家里长期没有这样的镜子,一个观察者站在一面不是反射他自己形象而是反射别人形象的镜子面前,却被告知他看到的形象就是他自己,那么他所看到的自己将是一幅十分扭曲的形象,别人的形象在他眼里也将是扭曲的;认不清自己也就很难了解别人。”(本段译文参考秦明利译本)另外,阿特伍德在许多作品中都采用了“镜子”意象,参见司艳“玛格丽特·阿特伍德的镜子情结”(《译林》1998年第5期)。
②转引自Sherrill E. Grace, Violent Duality: A Study of Margaret Atwood. Montreal: Vehicule Press, 1980, p.129.
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.143.
②Margaret Atwood,“Travels Back”, in Second Words: Selected Critical Prose. p.113.本段译文参考《玛格丽特·阿特伍德研究》,第213页。
③Northrop Frye, Conclusion to Literary History of Canada: Canadian Literature in English, eds. Carl F. Klinck & Alfred G. Bailey. Toronto: University of Toronto Press, 1965, p. 826.
④转引自Verena Bühler Roth, Wilderness and the Natural Environment: Margaret Atwood’s Recycling of a Canadian Theme. Tübingen; Basel: Francke, 1998, p.11.
①参见Fredric Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, N. C.: Duke University Press, 1991.
②Coral Ann Howells, Margaret Atwood. p.26.
③苏珊娜·穆迪是19世纪移民加拿大的英国人,曾在其作品《丛林中的甘苦》(Roughing it in the Bush)和《拓荒生活》(Life in the Clearings)中描述了早期加拿大移民的艰难生活。
①Margaret Atwood, The Journals of Susanna Moodie. p.62.论文中关于《苏珊娜·穆迪的日记》的引文均出自此书,只注明页码。下同。
①“地之灵”一说缘自英国小说家D. H.劳伦斯(D. H. Lawrence)《论经典美国文学》(Studies in Classic American Literature)的导论“地之灵”(“The Spirit of Place”)。
②Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature,Westport, CT: Greenwood Press, 1991, p.154.
③Margaret Atwood, Lady Oracle. Toronto: McClelland-Bantam, Inc., 1977, p.42.论文中关于《预言夫人》的引文均出自此书,只注明页码。下同。
④Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.155.
⑤Robert Kroetsch,“Reciting the Emptiness”, in The Lovely Treachery of Words: Essays Selected and New. Toronto: Oxford University Press, 1989, p.38.
①Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. Toronto: TSAR, 1995, p.vii.
②Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. p.5.
③Frank Birbalsingh, Novels and the Nation: Essays in Canadian Literature. p.5.
① Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.126.
②Northrop Frye,“Conclusion to a Literary History of Canada.”The Bush Garden: Essays on the Canadian Imagination. Concord, Ontario: Anansi, 1995, p.221.
①Margaret Atwood Interview in G. Gibson, Eleven Canadian Novelists. pp.1-31.
①Margaret Atwood, Surfacing. Toronto: McClelland & Stewart Inc., New Canadian Library edition 1994, p.11.论文中关于《浮现》的引文均出自此书,只注明页码。文中有些译文参考蒋丽珠译本《浮现》,南京:译林出版社,1999年。
②Wayne Fraser, The Dominion of Women: The Personal and the Political in Canadian Women’s Literature. p.127.
③Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. New York: Oxford University Press, 1995, p.282.
①Jim Davidson,“Where Were You When I Really Needed You”, in Margaret Atwood: Conversations. p.90.
② Coral Ann Howells, Margaret Atwood. p.43.
①Nathalie Cooke, Margaret Atwood: A Biography.此处译文参考《玛格丽特·阿特伍德研究》,第206页。
②Diana Brydon & Helen Tiffin, Decolonising Fictions. Sydney: Dangaroo Press, 1993, p.94.
①Nathalie Cooke, Margaret Atwood: A Biography.此处译文参考《玛格丽特·阿特伍德研究》,第206页。
②Barbara Hill Rigney, Margaret Atwood. London: Macmillan Education, 1987, p.3.
①Shannon Hengen, Martaret Atwood’s Power: Mirrors, Reflections and Images in Select Fiction and Peotry. Toronto: Second Story Press, 1993, p.12.
②Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.119.
③Barbara Hill Rigney, Margaret Atwood. p.3.
④Alan Lawson,“Postcolonial Theory and the‘Settler’Subject,”in Cynthia Sugars, ed., Unhomely States: Theorizing English-Canadian Postcolonialis., Toronto: Broadview Press, 2004, p.159.
⑤Colin Nicholson,“Living on the Edges: Constructions of Post-colonial Subjectivity in Atwood’s Early Poetry”, in Colin Nicholson, ed., Margaret Atwood: Writing and Subjectivity: New Critical Essays. New York: St. Martin’s Press, 1994, p.43.
①Jacques Derrida, Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Trans Peggy Kamuf, intro Bernd Magnus & Stephen Cullenberg. New York: Routledge, 1994, p.xix.
②Catharine Parr Traill,“From The Backwoods of Canada”, in Russell Brown and Donna Bennett, eds., A New Anthology of Canadian Literature in English. Toronto: Oxford University Press, 1990, p.92.
③厄尔·伯尼的这首短诗发表于1975年,这段引文转自Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.63.
④Catharine Parr Traill,“From The Backwoods of Canada”, in A New Anthology of Canadian Literature in English. p.93.
⑤Kathryn VanSpanckeren & Jan Garden Castro, eds., Margaret Atwood: Vision and Forms. Carbondale, Edwardsville:Southern Illinois University Press, 1988, p.242.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.9.
②Margaret Atwood,“Canadian Monsters: Some Aspects of the Supernatural in Canadian Fiction”, in David Staines, ed., The Canadian Imagination: Dimensions of a Literary Culture. Massachusetts: Harvard University Press, 1977, p.100.
③Edward Hartley Dewart, ed., Selections from Canadian Poets. 1864. Toronto: University of Toronto Press, 1973, p.ix.
④Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.17.
①Geoff Hancock, Canadian Writers at Work. Toronto: Oxford University Press, 1987, p.258.
②Alan Lawson,“Postcolonial Theory and the‘Settler’Subject,”in Unhomely States: Theorizing English-Canadian Postcolonialism. p.161.
③Donna Bennett,“English Canada’s Postcolonial Complexities,”in Unhomely States: Theorizing English-Canadian Postcolonialism. p.125.
④Roy Miki,“The Future’s Tense: Some Notes on Editing, Canadian Style.”Open Letter 8th ser. 5-6 (1993): 189.
①Roy Miki,“The Future’s Tense: Some Notes on Editing, Canadian Style.”Open Letter 8th ser. 5-6 (1993): 191.
②Diana Brydon,“Beyond Violent Dualities: Atwood in Postcolonial Contexts”, in Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. p.50.
③Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.1.
①Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.282.
②Colin Nicholson,“Living on the Edges: Constructions of Post-Colonial Subjectivity in Atwood’s Early Poetry”, in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.43.
①转引自Reingard M.Nischik, ed. Margaret Atwood: Works and Impact. p.253.
②Nathalie Cooke, Margaret Atwood: A Biography. p.7.
③Frantz Fanon, The Wretched of the Earth. p.148.
④Homi K. Bhabha, The Location of Culture. London and New York: Routledge, 1994, p.63.
①Margaret Atwood, Two-Headed Poems. Toronto: Oxford University Press, 1978, p.71.论文中关于《双头诗集》的引文均出自此书,只注明页码。下同。
①Margaret Atwood, The Robber Bride. p.43.
②Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.54.
③Ngugi wa Thiong’o, Decolonising the Mind: The Politics of Language in African Literature. Oxford: James Currey, 1986, p.9.
④Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.7.
①Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.8.
②参见Stephen Slemon的论文“Unsettling the Empire: Resistance Theory for the Second World”, in Unhomely States: Theorizing English-Canadian Postcolonialism. pp.139-150.
③关于这一说法参见John Skinner, The Stepmother Tongue: An Introduction to New Anglophone Fiction. New York: St. Martin’s Press, Inc., 1998.
④Bill Ashcroft, Gareth Griffiths, & Helen Tiffin, The Empire Writes Back. p.136.
⑤Robert Kroetsch,“Unhiding the Hidden: Recent Canadian Fiction”, in The Lovely Treachery Words: Essays Selected and New. Toronto: Oxford University Press, 1989. p.58.
①Northrop Fyre, The Bush Garden: Essays on the Canadian Imagination. Toronto: House of Anansi Press Ltd., 1971, p.218.
②Bill Ashcroft , Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.140.
③Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.53.
④Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. pp.53-54.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. pp.141-142.
②艾勒克·博埃默:《殖民与后殖民文学》,盛宁韩敏忠译,沈阳:辽宁教育出版社,1998,第248页。
③Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.38.
①Ngugi wa Thiong’o,“Decolonising the Mind”, in Julie Rivkin & Michael Ryan, eds., Literary Theory: An Anthology. Malden, MA and Oxford: Blackwell, 2004, p.1135.
①有关“去神话化”的说法参见克罗齐的论文“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. pp.58-63.
②Robert Kroetsch,“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. p.58. Kroetsch在文章中写道:“我曾经认为加拿大作家的任务是为他的经历命名,成为命名者。我现在则觉得,相反,他的任务是反命名。”
①Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.54.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.209.
①Celia M. Britton, Edouard Glissant and Postcolonial Theory: Strategies of Language and Resistance. Charlottesville and London: University Press of Virginia, 1999, p. 180.
②Robert Kroetsch,“Unhiding the Hidden”, in The Lovely Treachery Words: Essays Selected and New. p.59.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.39.其中有关Raja Rao的引文出自Raja Rao, Kanthapura. New York: New Directions, 1938, p.vii.
①Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back. p.39.
②Dennis Lee,“Cadence, Country, Silence: Writing in Colonial Space”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.55.
③Ibid.
④霍米·巴巴曾指出,模拟的目的是产生出某种居于与原体的相似与不似之间的“他体”,这种“他体”既带有“被殖民”的痕迹,同时又与本土话语糅为一体,因而在很大程度上蕴含着弘扬本土话语的第三世界文化策略。参见王宁《超越后现代主义》,北京:人民文学出版社,2002年,第45页。
①阿特伍德和李是大学同学,李后来成为安南西出版社(House of Anansi)的创办者之一,阿特伍德为它的发展倾注了很多心血,她的论著《幸存》就是由李编辑在安南西出版。因为此书,阿特伍德受到很多攻击,李与她并肩战斗,给予她很多精神上的帮助。
②Jim Davidson,“Where Were You When I Really Needed You”, in Margaret Atwood: Conversations. p.92.
③笔者在多伦多大学访问时曾与Linda Hutcheon教授进行过面谈,在谈到阿特伍德的语言时,Hutcheon教授就提出了这一看法。
④罗伯特·克罗齐在“Unhiding the Hidden: Recent Canadian Fiction”中指出,作家(包括他自己)对已接受的有关帝国概念的主张进行“反其道运用(uninvent)”,目的在于以加拿大的方式书写加拿大,解蔽(unhiding)被遮掩在一种“被借用”的外来词汇背后的加拿大。
⑤http://www.lib.hstc.edu.cn/resource/luxun/na.htm
①Margaret Atwood, The Animals in That Country. Toronto: Oxford University Press, 1968, p.11.论文中关于《该国动物》的引文均出自此书,只注明页码。下同。
①Carl Jung, Symbols of Transformation. Trans. R. F. C. Hull. Volume 1. New York: Harper and Brothers, 1956, p.15.
②Colin Nicholson,“Living on the Edges: Constructions of Post-colonial Subjectivity in Atwood’s Early Poetry”, in Margaret Atwood: Writing and Subjectivity: New Critical Essays. p.21.
①Linda Sandler,“Interview with Margaret Atwood”, Malahat Review: Margaret Atwood: A Symposium, 41 (1977): 14.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p. 163.
②Nathalie Cooke, Margaret Atwood: A Critical Companion. London: Greenwood Press, 2004, p.6.
①Margaret Atwood, The Robber Bride. p.34.
②Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.149.
③Margaret Atwood, Second Words: Selected Critical Prose. p.332.
④Margaret Atwood, Letter to Sharon Wilson. September 29, 1986.
①Ann Mandel,“Review of True Stories”, in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston: G. K. Hall & Co., 1988, p.248.
②Margaret Atwood, True Stories. Toronto: Oxford University Press, 1981, p.7.论文中有关《真实的故事》的引言均出自此书,只注明页码,下同。
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.184.
②Hilda Hollis,“Between the Scylla of Essentialism and the Charybdis of Deconstruction: Margaret Atwood’s True
Stories”, in Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels, p.137.
①Margaret Atwood, Interlunar. Toronto: Oxford University Press, 1984, p.72.论文中有关《新残月交替》的引言均出自此书,只注明页码,下同。
②Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.183.
③Margaret Atwood, Second Words: Selected Critical Prose. p.393.
①Margaret Atwood, Second Words: Selected Critical Prose. p.350.
②Samuel Chavkin, The Murder of Chile: Eyewitness Accounts of the Coup, the Terror, and the Resistance Today. New York: Everest House, 1982, p.231.
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.183.
②Hilda Hollis,“Between the Scylla of Essentialism and the Charybdis of Deconstruction: Margaret Atwood’s True Stories”, in Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. p.142.
③Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.183.
②Le Anne Schreiber,“Female Trouble: An Interview,”Vogue, January 1986, 209.
③Interview with Margaret Atwood in Margaret Reynolds and Jonathan Noakes, Margaret Atwood: The Essential Guide. London: Vintage, 2002, pp.12-13.
①米歇尔·福柯:《规训与惩罚》,刘北成杨远婴译,北京:生活读书新知三联书店,1999年,第231页。
①这句话的原文为“Soothing to the eye, the eyes, the Eyes, for that’s who this show is for。此处eye为双关,既指“眼睛”,又指“眼目”。
②See Ben Pimlott’s introduction in George Orwell, Nineteen Eighty-Four (1949), Penguin, 1989, p.XII.
①米歇尔·福柯:《规训与惩罚》,第20页。
②《权力的眼睛——福柯访谈录》,严锋译,上海:上海人民出版社,1996年,第46页,47页。
①王苹,张建颖:“《使女的故事》中的权力与抵抗”,《外国语》2005年第1期,第74页。
①韦清琦:“假如昔日可以重来——《羚羊与秧鸡》译后随笔”,《译林》2005年第2期,第216页。
②玛格丽特·阿特伍德,《羚羊与秧鸡》,韦清琦、袁霞译,译林出版社,2004年版,第29页。论文中关于《羚羊与秧鸡》的引文均出于此书,只注明页码。下同。
③Compartmentalized world这个概念是由法农在The Wretched of the Earth中提出的。
④Frantz Fanon, The Wretched of the Earth. pp.4-5.
①Terry Eagleton, After Theory. New York: Basic Books, 2003, p.22.
②Katherine McKttrick, Demonic Grounds. Minneapolis and London: Minnesota Press, 2006, p.xv.
③Robert Reich, The Work of Nations. New York: Vintage, 1991, p.269.
④Benjamin R. Barber, Jihad vs. McWorld: How Globalism and Tribalism are Reshaping the World. New York: Ballantine, 1995, p.271.
①Theodore W. Allen, The Invention of the White Race: The Origin of Racial Oppression in Anglo-America. London: Verso, 1994, p.149.
①Margaret Atwood & Victor-Lévy Beaulieu, Two Solicitudes: Conversations. Translated by Phyllis Aronoff and Scott, Toronto, Ontario: McClelland & Stewart Inc, 1998, p.78.
①Nathalie Cooke, Margaret Atwood: A Biography. p.261.
②Margaret Atwood,“Witness is What You Must Bear”, with Beatrice Mendez-Eagle, in Earl Ingersoll, ed., Conversations. Princetong, NJ: Ontario Review, 1990, p.164.本段译文参考傅俊:《玛格丽特·阿特伍德研究》,第240页。
③圣安托万(St. Antoine)是小说中一个虚构的国名,从地理上讲相当于加勒比岛国圣露西亚(St. Lucia)。
④Margaret Atwood, Bodily Harm. Toronto: McClelland and Stewart-Bantam Limited, 1981, p.30.论文中关于《肉体伤害》的引文均出于此书,只注明页码。下同。
①爱德华·萨义德:《文化与帝国主义》,李琨译,生活·读书·新知三联书店,2007年版,第73页。
②潘守文:《民族身份的建构与解构——阿特伍德后殖民文化思想研究》,吉林大学出版社,2007年,第267-269页。
①Margaret Atwood, Second Words: Selected Critical Prose. p.282.
②Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings 1972-1977, Colin Gordon, ed.. New York: Pantheon Books, 1980, p.89.
③Margaret Atwood, Second Words: Selected Critical Prose. p.394.
④Bill Ashcroft, Gareth Griffiths & Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-colonial Literatures. p.172.
①Margaret Atwood, Power Politics. Toronto: Anansi, 1996, p.1.
②Helen Tiffin,“Voice and Form,”in Russell McDougall & Gillian Whitlock, eds., Australian/Canadian Literatures in English : A Comparative Perspective. North Ryde, NSW : Methuen, 1987, p.123.
③黛安娜?布莱登曾在论文“阿特伍德的后殖民想像:重读《肉体伤害》”(“Atwood’s Postcolonial Imagination:Rereading Bodily Harm”)中探讨了阿特伍德在小说中对后殖民问题的关注。这篇论文收录于Various Atwoods: Essays on the Later Poems, Short Fiction, and Novels. pp.89-116.
①Margaret Atwood, Second Words: Selected Critical Prose. p.396, p.301.
②“好运”和“命运”在小说中均为luck,有双关之意。
①Barbara Hill Rigney, Margaret Atwood. p.121.
①Robin Fisher, Contact and Conflict: Indian-European Relations in British Columbia, 1774-1890. Vancouver: University of British Columbia Press, 1977, p.xi.
②John Skinner在《继母的语言》(The Stepmother Tongue)中将加拿大英语小说作家主要分为两类:具有安大略传统的作家和具有大草原传统的作家,阿特伍德属于前者。
③参见潘守文:《民族身份的建构与解构》,第172-218页。
④Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.40.
①玛格丽特·阿特伍德:《可以吃的女人》,刘凯芳译,上海:上海译文出版社,1999年,第115页。论文中关于《可以吃的女人》的引文均出于此书,只注明页码。下同。
②Margaret Atwood, Dancing Girls. Toronto: McClelland & Stewart, 1976, p.47.论文中关于《跳舞的女孩们》的引文均出于此书,只注明页码。下同。
①Diana Brydon,“Beyond Violent Dualities: Atwood in Postcolonial Contexts”, in Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works. p.52.
②Terry Goldie,“Semiotic Control: Native Peoples in Canadian Literature in English”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.200.
③Terry Goldie,“Semiotic Control: Native Peoples in Canadian Literature in English”, in Unhomely States: Theorizing English-Canadian Postcolonialism. p.200.
④Margaret Atwood, The Tent. New York: O. W. Toad, Ltd., 2006.参见本人在《外国文学动态》2007年第2期卷首页上的翻译。
①Augie Fleras & Jean Leonard Elliott, The Challenge of Diversity: Multiculturalism in Canada. Scarborough: Nelson, 1992, p.125.
②Donna Bennett,“English Canada’s Postcolonial Complexities”, in Unhomely States: Theorizing English-Canadian Postcolonialism, p.120.
③Tyler Tolaryk, Cultural Différence: Writing, Canada, Multiculturalism. Diss. University of Western Ontario, 1996, p.xxx.
④Daniel Francis, National Dreams: Myth, Memory, and Canadian History. Vancouver: Arsenal Pulp, 1997, p.83.
②Margaret Atwood, Life Before Man. Toronto: Bantam Books, 1979, p.219.论文中关于《人类以前的生活》的引文均出于此书,只注明页码。下同。
①Earl G. Ingersoll, ed., Margaret Atwood: Conversations. p.125.
②Barbara Hill Rigney, Margaret Atwood. p.97-98.
①Barbara Hill Rigney, Margaret Atwood. p.93.
②Cathy N. & Arnold E. Davidson,“Prospects and Retrospect in Life Before Man”, in Arnold E. Davidson & Cathy N. Davidson, eds., The Art of Margaret Atwood: Essays in Criticism. Toronto: House of Anansi Press Limited, 1981, p.217.
③Russell Brown,“Atwood’s Sacred Wells”, in Judith McCombs, ed., Critical Essays on Margaret Atwood. Boston, Mass.: G. K. Hall, 1988, p.215.
①Russell Brown,“Atwood’s Sacred Wells”, in Critical Essays on Margaret Atwood. p.215.
②傅俊:《玛格丽特·阿特伍德研究》,第403页。
①Ingersoll, Earl G., ed. Margaret Atwood: Conversations, p.76.
②Ingersoll, Earl G., ed. Margaret Atwood: Conversations, p.76.
①Edward Said, Orientalism. London and Henley: Routledge & Kegan Paul, 1978, p.285.
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.120.
②Linda Sandler,“Interview with Margaret Atwood,”Malahat Review 41 (January 1977): 24.
③“生命之网”指大自然是个类似网络的整体,自然万物之间相互依存、相互联系,因此牵一发而动全身,其中任何一种生命形式的灭亡都会使整个网络失去平衡,最终形成一张“死亡之网”。有关“生命之网”和“死亡之网”的概念参见胡志红:《西方生态批评研究》,北京:中国社会科学出版社,2006年,第266至279页。
①Margaret Atwood,“Hardball”, in Good Bones. London: Virago, 1993, p.93.
①Margaret Atwood, Strange Things: The Malevolent North in Canadian Literature. p.116.
①艾伦·退格(Alan Twigg)在一次访谈中询问阿特伍德在写作的过程中有没有意识到《人类以前的生活》是第一部表达人类有灭顶之虞的加拿大小说时,阿特伍德作了肯定的答复:“是的。这就是为什么小说以安大略皇家博物馆为背景。为什么(主人公)莱夏是研究恐龙的古生物学家。”参见Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.121.
①参见Lynn Hankinson Nelson, Who Knows: From Quine to a Feminist Empiricism. Philadelphia: Temple University Press, 1990.
②Northrop Frye,“Haunted by Lack of Ghosts”, in The Canadian Imagination, David Staines, ed.. Cambridge, Massachusetts & London, England: Harvard University Press, 1977, p.29.
③Donelle N. Dreese, Ecocriticism: Creating Self and Place in Environmental and American Indian Literatures. New York: Peter Lang Publishing, Inc., 2002, p.6.
④Margaret Atwood, Wilderness Tips. New York: Nan A. Talese/Doubleday, 1991, p.159.论文中关于《铅的时代》的引文均出于此书,只注明页码。下同。
①《异化的多种形式――对生态问题的一种哲学阐释》http://philo.ruc.edu.cn/pol04/Article/marxism/m_general/200509/1988.html
②前副总统艾尔·戈尔(Al Gore)在片中担当其主要角色,并获得了2007年2月颁发的奥斯卡奖。同年,戈尔著书《难以忽视的真相:世界变暖所引发的全球紧急状态,我们能为此做什么》(An Inconvenient Truth: The Planetary Emergency of Global Warming and What We Can Do About It),做了进一步的图片扩充和信息解说。戈尔孜孜不倦地向大众传递全球变暖的深远影响,并因此与联合国政府间气候变化专业委员会(Intergovernmental Panel on Climate Change)分享了2007年的诺贝尔和平奖。
③加拿大“绿党”于1983年成立,提倡绿色政治,主张环保,2007年时共有9000名成员,是加拿大目前最大的在国会中没有代表席位的联邦党。
④http://www.greenparty.ca/fr/node/3133
①Margaret Atwood, Writing with intent: essays, reviews, personal prose, 1983-2005. p.369.
②Mel Gussow,“Atwood’s Dystopian Warning: Hand-Wringer’s Tale of Tomorrow”, New York Times, 24 June 2003, P.B5.
③与之形成对照的是在另一部生态预警小说《地球之友》(A Friend of the Earth, 2000)中,美国作家博伊尔(Coraghessan T. Boyle)将无可救药的地球生态描绘为终日连绵不绝的暴雨天气。
①Margaret Atwood,“Writing Oryx and Crake”, Curious Pursuits: Occasional Writing 1970-2005. London: Virago Press, 2005, p.322.
②蕾切尔·卡逊:《寂静的春天》,吕瑞兰、李长生译,长春:吉林人民出版社,1997年,第48页。
①蕾切尔·卡逊:《寂静的春天》,第73页。
②2008年4月21日的《纽约时报》(The New York Times)发表了一篇文章《PETA的最新策略:100万美元奖励人造肉》(“PETA’s Latest Tactic: $1 Million for Fake Meat”),阿特伍德在小说中描写的人造鸡肉的培养已经不再是新鲜事。该文指出,“从试管中得到下一代‘麦乐鸡’的想法并不新鲜。几年来,科学家们一直在搞研发,进行组织培养,在不消耗土地或饲料,并且不像生产真正肉类会有疾病可能的情况下,产出食用起来类似肉类的物质……这种组织一旦培养起来,其形状和质地会带有各种添加剂和组织剂的特征,这些添加剂和组织剂目前用在素汉堡产品中,能使它们具有更多肉的质地。”参见http://www.nytimes.com/2008/04/21/us/21meat.html
①Margaret Atwood, The Door. Toronto: McClelland and Stewart, 2007, pp.52-53.
②Nathalie Cooke, Margaret Atwood: A Biography. p.291.
①弗洛姆:《逃避自由》,陈学明译,北京:工人出版社,1987年,第159页。
①谭言红:“逃离异化的空间:评玛格丽特·阿特伍德《使女的故事》和《羚羊与秧鸡》”,《重庆文理学院学报》,2006年第11期,第82页。
①陈小蔚:“一部反映未来的现实小说——玛格丽特·阿特伍德《使女的故事》评析”,《当代外国文学》,2003年第1期,第166页。
①杨莉馨:“‘反乌托邦’小说的一部杰作——论玛格丽特·阿特伍德的新作《羚羊与秧鸡》”,《南京师范大学文学院学报》,2005年第2期,第60页。
②《马克思恩格斯全集》第12卷,中共中央马克思、恩格斯、列宁、斯大林著作编译局译,北京:人民出版社,1965年,第4页。
①阿特伍德在关于《羚羊与秧鸡》的一次访谈中说道:“如果我是《圣经》中的上帝,我会很不安。他创造了一切,并且认为这一切都是美好的。但现在人们正在这件艺术品上到处胡乱涂改。”参见傅俊:《玛格丽特·阿特伍德研究》,第429页。
①转引自Margaret Atwood,“Writing Oryx and Crake”, http://www.owtoad.com/,原文最初由阿特伍德于2003年1月为“本月好书俱乐部”所写。
②“An Interview with Margaret Atwood”. http://www.owtoad.com/转引自《玛格丽特·阿特伍德研究》,第430页。
③哈贝马斯:《作为“意识形态”的技术与科学》,李黎郭官义译。上海:学林出版社,1999年。
④“An Interview with Margaret Atwood”. http://www.owtoad.com/转引自《玛格丽特·阿特伍德研究》,第430页。
①Margaret Atwood,“In the Field,”with M. T. Kelly, in Leanna Crouch, ed., One and One: The Imprint Interview. Toronto: Somerville House, 1994, p.157.
①Margaret Atwood,“Writing Oryx and Crake”. Curious Pursuits: Occasional Writing 1970-2005. p.323.
②Steven Best & Douglas Kellner, The Postmodern Adventure: Science, Technology, and Cultural Studies at the Third Millennium. New York: Guilford Press, 2001, p.143.
①Delia O’Hara,“Atwood’s Novel Paints Bleak Picture of World”, Chicago Red Streak, 5 June 2003
②Lawrence Buell, Writing for an Endangered World: Literature, Culture, and Environment in the U. S. and Beyond. Massachusetts: Harvard University Press, 2001, p.2.
③Margaret Atwood,“Writing Oryx and Crake”, in Moving Targets: Writing with Intent, 1982-2004. p.330.
④乔治·格兰特:《科学技术和帝国》,转引自秦明利译《生存:加拿大文学主题指南》,第37页。
①何怀宏主编,《生态伦理——精神资源与哲学基础》,保定:河北大学出版社,第337页。
②Northrop Frye,“Haunted by Lack of Ghosts”, in Mythologizing Canada: Essays on The Canadian Literary Imagination, ed. Branko Gorjup. Ottawa: Legas, 1997, p.121.
③转引自王诺:《欧美生态文学》,北京:北京大学出版社,2003年,第171页。
①Val Plumwood,“Decolonizing Relationships with Nature”, in Bill Ashcroft, et al, eds., Post-Colonial Studies Reader (2nd edition). London and New York: Routledge, 1995, p.505.
①Margaret Atwood,“Don’t Expect the Bears to Dance”, Maclean’s, June 1975, p.68.
①谢葵:“呼唤人与自然的和谐:玛格丽特·阿特伍德《浮现》中的生态思想”,《国际关系学院学报》,2007年第1期,第56页。
②蔡奂:“技术统治与生态灾难:试析反乌托邦生态小说《羚羊与秧鸡》”,《世界文学评论》,2007年第1期,第127页。
①弗罗姆:《占有或存在》,杨慧译,北京:国际文化出版公司,1989年,第1页。
②关于“同质”和“排他”的说法参考Val Plumwood的文章“Decolonizing Relationships with Nature”。
③胡志红:《西方生态批评研究》,第82页。
④Marie-Claire Blais,“Afterword”, in Margaret Atwood, Surfacing. p.194.
①赵鑫珊:《大自然的诗化哲学》,上海:文汇出版社,2000年,第77页。
②转引自Greg Garrard, Ecocriticism, New York: Routledge, 2004, p.102.
③李泽厚:《批判哲学的批判:康德述评》,北京:人民出版社,1979年,第333页。
④黑格尔:《历史哲学》,王造时译,北京:商务印书馆,1963年,第62页。
①赫尔曼·戴利等编:《珍惜地球——经济学、生态学、伦理学》,马杰等译,北京:商务印书馆,2001年,第179页。
②为了向加拿大总督文森特·梅西表示敬意,人们于1961年起组织了“梅西系列演讲”活动,它是加拿大一年一次的重要学术活动。在此期间,加拿大或国际著名学者就政治、文化或哲学话题进行为期一周的演讲。
③斯克鲁奇(Scrooge)是狄更斯于1843年发表的小说《圣诞欢歌》(Christmas Carol)中的人物。
①Margaret Atwood, Payback: Debt and the Shadow Side of Wealth. Toronto: House of Anansi Press Inc., 2008, p.106. 论文中关于《偿还》的引文均出自此书,只注明页码。下同。
①http://www.reuters.com/article/lifestyleMolt/idUSTRE48S4X020080929?pageNumber=2&virtualBrandChannel=0
①Earl G. Ingersoll, ed. Margaret Atwood: Conversations. p.16.
②转引自罗尔斯顿:《环境伦理学》,杨通进译,北京:中国社会科学出版社,2000年,第1页。
③李培超:《自然的伦理尊严》,南昌:江西人民出版社,2001年,第128页。
①Murray Bookchin, The Ecology of Freedom: The Emergence and Dissolution of Hierarchy. Palo Alto, 1982, p.1.
②引自“百度百科”,http://baike.baidu.com/view/606321.htm
③Victoria Davion,“Is Ecofeminism Feminist?”in Karen J. Warren ed., Ecological Feminism, London & New York: Routledge, 1994, pp.10-11.
①此处译文参考傅俊:《玛格丽特·阿特伍德研究》,第366页。
②阿特伍德在《幸存》中指出,大自然的规律错综复杂具有曲线性,人类的秩序则趋向正方形、长方形、直线及类似形状,他们所面临的问题是如何使直线适合于曲线形的宇宙,但是大自然往往不需要这种直线。参见Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. pp.120-124.
③Atwood, Margaret. The Animals in That Country. p.36.
①Lois C. Gottlieb and Wendy Keitner.“Colonialism as Metaphor and Experience in The Grass is Singing and Surfacing”, in C. D. Narasimhaiah, ed., Awakened Conscience: Studies in Commonwealth Literature. New Delhi: Sterling, 1978, p.311.
②King Ynestra,“The Ecology of Feminism and the Feminism of Ecology,”in Judith Plant, ed., Healing the Wounds: The Promise of Ecofeminism. Philedelphia: New Society Publishers, 1989, p.23.
③Karen Warren,“Taking Empirical Data Seriously: An Ecofeminist Philosophical Perspective,”in Karen Warren, ed., Ecofeminism: Women, Culture, and Nature. Bloomington: Indiana University Press, 1997, p.12.
④薛冰莲:“阿特伍德小说《浮现》的生态批评解读”,《徐州教育学院学报》,2006年第12期,第127页。
①Kate Fullbrook,“Margaret Atwood: Colonisation and Responsibility,”Free Women: Ethics and Aesthetics in Twentieth-Century Women’s Fiction. Philadelphia:Temple University Press, 1990, p.188.
②William Leiss, The Domination of Nature, Boston: Beacon Press, 1974, Preface, p.xiii.
③William Leiss, The Domination of Nature. p.xvi
①John Passmore, Man’s Responsibility for Nature: Ecological Problems and Western Traditions (2nd ed), London: Gerald Duckworth & Co. L td. , 1980, p.13.
②韦清琦:“假如昔日可以重来:《羚羊与秧鸡》译后随笔”,第216页。
①T. V. Reed,“Toward An Environmental Justice Ecocriticism,”in Joni Adamson, Mei Mei Evans & Rachel Stein, eds., The Environmental Justice Reader: Politics, Poetics, & Pedagogy. Tucson: The University of Arizona Press, 2002, p.155.
Alias Grace. London: Bloomsbury Publishing Plc, 1996.
A Quiet Game and Other Early Works. Alberta: Juvenilia Press, 1997.
Bluebeard’s Egg and Other Stories. Boston: Houghton Mifflin Company, 1986.
Bodily Harm. Toronto: McClelland and Stewart-Bantam Limited, 1981.
Bones and Murder. London: Virago Press, 1995.
Cat’s Eye. New York: Bantam, 1989.
Curious Pursuits: Occasional Writing 1970-2005. London: Virago Press, 2005.
Dancing Girls and Other Stories. London: Jonathan Cape Ltd, 1977.
Double Persephone. Toronto: Hawkshead Press, 1961.
Good Bones. New York: O. W. Toad, 1992.
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