艾丽丝·默多克小说中女性自我身份的解构与重构
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摘要
艾丽丝·默多克是二战后英国文坛颇具影响力的女性小说家和哲学家。有别于同时代的女性主义者，她在文学创作上偏爱男性的叙事视角，刻意回避自己作为女性作家的创作身份，崇尚低调女权运动，对女性人物的塑造和对女性问题的思考具有写实性与客观性。二战后,随着传统的理性和道德价值观念的摧毁，作为男女二元对立系统中的弱势群体，女性面临着如何在新的语境下重塑女性自我身份的困境，这也是默多克在她的作品中探索的重要内容。本文结合默多克的哲学观点及其创作的时代背景，通过基于她主要作品的文本分析，对作品中女性人物的自我身份的解构和重构进行了整体性研究，揭示了女性在丧失了传统语境下的自我之后如何通过自我意识觉醒和自我身份建构来重建女性自我，并最终达到默多克所追寻的终极目标——“善”的境界。
引言部分介绍了默多克主要文学成就以及针对女性和女性问题的哲学观点。通过对中西方学界关于默多克作品中女性人物的研究进行梳理，发现女性自我成长的主题尚缺乏整体性研究。因此，本研究的意义在于以默多克主要哲学概念为框架，关注其中女性人物从自我的解构状态到自我重构的过程，进而深化对于默多克关于女性自我和女性问题的哲学思想的理解。引言和结论部分之外，主体部分由四章组成。
第一章阐述了默多克早期小说中女性自我的解构状态。通过对《逃离巫师》中的三位女性境遇的对比分析，从女性自我意识、女性身份和女性自我三个方面分别展示女性自我身份所呈现出的整体碎片化状态：在以男权为主导的社会中，即使良好的家庭出身也无法保证年轻女性摆脱成长过程必将遭遇的自我意识危机和自我意识的破碎；在战争灾难中，女性难民承受着由性别和政治决定的双重边缘化困境，即使经济上的独立也不足以使其摆脱来自于政治特权与男权的控制，女性身份的建构更是难以实现；此外，还塑造了女性自我处于分裂状态、拒绝关注他人和周围的真实世界的知识女性形象，通过描写女性在利用政治和种族优势构建以女性为主导的权力体系的失败，进一步揭示了男权在两性关系构建中的绝对主导地位。
第二章着重研究了《相当体面的失败》中女性人物所面临的女性自我缺失的困境及她们建立自我意识的过程。默多克把形式和偶合的概念运用于女性人物塑造，作品中的女性人物摇摆于形式和偶合之间，并试图将固定不变的世界的形式与生活的琐碎和不确定性结合起来。这种变化表现出默多克笔下的女性人物已开始自我反思并逐步拥有思辨能力，初步形成了女性意识。然而，摩根和希尔达两姐妹的境遇对比表明女性逐步重建的自我意识并未被男权主导的意识形态所接纳。摩根代表了受教育的现代女性，但其混乱落魄的生活与对男性非议的承受与传统女性希尔达享受优越富足的生活和来自于男性的赞美都形成了鲜明的对比。默多克藉此表明教育虽然可以改变女性的命运，但如果这种改变不被男权世界接受，仍会成为女性获得自我意识的障碍。
第三章全面论述了《黑王子》中女性自我身份的建构。默多克在这部小说中再次关注年轻女性的成长并探讨了女性在拥有相对于传统女性更多的自由之后，该如何对男性视域中的女性地位重新思考以及如何按照自我的意志对自我身份进行重新定位。默多克通过三个女人不同的人生观和婚姻观及其由此引发的不同境遇表明：接受教育并不能必然使女性拥有健全的女性自我，女性自我的完整性在于经济层面和精神层面的双重独立。默多克在小说中采用了男性第一人称叙事的方法，并在小说结尾以四个当事人的后记对布拉德雷叙事文本的确定意义进行了解构，完成了女性个体与女性间从失声到发声、从沉默到沟通的叙述主线，重塑了女性建立女性身份的过程。
第四章探讨了小说《善的学徒》中女性自我在真实世界中的重新建构以及如何通过对外在世界“爱的注视”走上“善”之路的过程。这部小说中，默多克笔下的女性人物不仅具有强烈的自我，而且还意识到外在于自我的他人及世界的存在，并在善的指引下，逐渐消解意识中的“自我”，通过“关注”他者进而发现“他性”世界的实在性。此外，默多克还鲜见地刻画了女性权力人物，反奴为主并占据家庭的统治地位，对长期遭受的男权控制和压迫进行反击和报复。但二元对立的打破与主导地位的获取却未能使得女性获得完整的自我。同时，默多克也探讨了女性如何在充满偶在的真实世界中重新定位自我身份的问题以及如何在爱与善的帮助下与偶然世界达成妥协。只有通过关注外在于自我的他人及世界的存在，女性才能在树立女性自我意识、确立了自我身份、进而建构女性自我之后走上真正地重建自我身份并走上向善之路。
结论指出：以默多克的哲学观点为视角，通过对其小说进行文本细读和对女性人物进行分析，发现默多克对女性处境和女性问题不但一直保持关注，而且其笔下女性的自我身份还历经了从解构到重构的嬗变。她对女性问题的思考、对女性境遇的刻画以及她对于女性独立、女性教育的关注都渗透了她关于自我、关注、善、爱等哲学观点。女性人物塑造中体现的渐进变化也体现了默多克本人在女性问题上的认识论发展，其中体现的见解深化并拓展了她的哲学思想。
Iris Murdoch is a renowned female novelist and philosopher in the20thcenturyEnglish literature. In her literary creation, she has a preference for male narration and holdsa reserved attitude to women’s movements with reluctance to be considered as a feministwriter, which permits her realistic depiction of female characters and dispassionate thoughton women’s problems. After the Second World War, the fact that the traditional logos andmoral values have been wrecked deconstructs the traditional female selfhood. Thus, thereconstruction of the selfhood became one of the main focuses in Murdoch’s essays andfiction, especially that of women who are the vulnerable groups in the binary opposition.Considering Murdoch’s philosophical ideas and the sociohistorical background, thedissertation conducts a comprehensive study and analysis of the female characters toillustrate the progressive changes in the deconstruction and reconstruction of femaleselfhood in her fiction from the growth of female-consciousness, to the establishment offemale identity, and to the integration of female self on the pilgrimage to goodness.
The introduction presents Murdoch’s major works and achievements of Iris Murdochas a novelist and philosopher. Then, it undertakes a critical review of the studies onMurdoch’s female characters in China and abroad and argues for the significance of thedissertation for it aims to make up the insufficient integrative research on the femaleselfhood in Murdoch’s fiction. Besides Introduction and Conclusion, there are fourchapters in the dissertation.
Chapter One, with the interpretation and redefinition of the concepts as consciousness,identity and self in Murdoch’s philosophy, analyzes the fragmented self of three femalefigures in The Flight from the Enchanter respectively from the perspectives of self-consciousness, identity and self. The lack of self-consciousness disables the young woman,regardless of the wealthy and decent family background, to escape from the economicexploitation, emotional control and sexual assault of the male. Besides, the femaleimmigrant endures racial and sexual oppressions and finally fails to establish her femaleidentity even though she has been economically independent. Furthermore, the femaleintellectual, too indulgent in her own world to know the reality, fails in her attempt to existas a power figure in the life of two Polish brothers for the gender advantage of the male ismuch more powerful than her racial privilege, which reveals the male dominance in thegender relationship.
Chapter Two demonstrates the growth of female self-consciousness along withrethinking their life and reevaluating themselves with full self-consciousness in A Fairly Honourable Defeat. Murdoch applies her philosophical concepts of form and contingencyto the characterization of female figures and attempts to combine the fixed form of theworld with the uncertainty of life. The vacillation in women’s opinion between form andcontingency proves their speculation quality, which is essential for the growth of self-consciousness. Murdoch focuses on the characterization of the siblings Hilda and Morganrespectively as a typical example of traditional women and modern educated women.Compared with Morgan’s emotional perplexity, economic hardship, and male contempt,Hilda’s affluent life, happy marriage and her popularity among the male indicateMurdoch’s reluctant admission that women still live in the androcentric world where thewomen’s self-improvement are not widely welcome.
Chapter Three explores how women could reconstruct their identity as a self-consciousindividual in the social life in The Black Prince. Murdoch’s view on the reposition ofwomen’s identity is exemplified by Julian’s choice of her life path after she owns morefreedom of choice. Besides, Murdoch illustrates that economic and spiritual independenceis a necessity for female identity through the different ways of Priscilla, Rachel andChristian to survive marriage crisis. Further, Murdoch assigns the narration of a first male-narrator followed by four postscripts in which other characters (three of them are female)get a chance to speak their own view of the events. The well-designed experimentalnarrative mode makes the male-female dialogue on the basis of equality possible.
Chapter Four reveals the difficulty in the formation of female self by portrayingfemale characters’ personal growth through increased awareness of themselves and therelationship with others in The Good Apprentice. Murdoch illustrates that blind hatred andrevenge as well as the lies all hinder women from the integration of female self and fromreaching the state of Goodness. Besides, Murdoch indicates that the woman, as the winnerin the fight against the gender inequality and patriarchal oppression in the family, is likelyto continue the male dominance instead of liberating herself from the male supremacy andattaining the perfect life. Furthermore, Murdoch explores the way for the woman to bringthe life back to the real world and reconcile with the contingency in life. Meanwhile,Murdoch endows the female character with an unusual trait that is seldom found in herother female characters: the consideration of others’ welfare and attention to others’ life.This is just what Murdoch advances in her philosophy as the way to achieve goodness.
This dissertation concludes that at the beginning of her career, Murdoch confined hernarration to the true state of deconstructive female selfhood. And along with thesociocultural changes, she turned to concern about the growth of female self-consciousnessand the establishment of female identity in the novels of her middle period. Apart from the integration of female selfhood, Murdoch has also explored how women could achievehappiness and reach the state of goodness in her later period to a greater extent than in herearly period. While Murdoch conveys her philosophical thoughts in her novels, hercreation of characters and plots in turn enriches and deepens her philosophy.
引言部分介绍了默多克主要文学成就以及针对女性和女性问题的哲学观点。通过对中西方学界关于默多克作品中女性人物的研究进行梳理，发现女性自我成长的主题尚缺乏整体性研究。因此，本研究的意义在于以默多克主要哲学概念为框架，关注其中女性人物从自我的解构状态到自我重构的过程，进而深化对于默多克关于女性自我和女性问题的哲学思想的理解。引言和结论部分之外，主体部分由四章组成。
第一章阐述了默多克早期小说中女性自我的解构状态。通过对《逃离巫师》中的三位女性境遇的对比分析，从女性自我意识、女性身份和女性自我三个方面分别展示女性自我身份所呈现出的整体碎片化状态：在以男权为主导的社会中，即使良好的家庭出身也无法保证年轻女性摆脱成长过程必将遭遇的自我意识危机和自我意识的破碎；在战争灾难中，女性难民承受着由性别和政治决定的双重边缘化困境，即使经济上的独立也不足以使其摆脱来自于政治特权与男权的控制，女性身份的建构更是难以实现；此外，还塑造了女性自我处于分裂状态、拒绝关注他人和周围的真实世界的知识女性形象，通过描写女性在利用政治和种族优势构建以女性为主导的权力体系的失败，进一步揭示了男权在两性关系构建中的绝对主导地位。
第二章着重研究了《相当体面的失败》中女性人物所面临的女性自我缺失的困境及她们建立自我意识的过程。默多克把形式和偶合的概念运用于女性人物塑造，作品中的女性人物摇摆于形式和偶合之间，并试图将固定不变的世界的形式与生活的琐碎和不确定性结合起来。这种变化表现出默多克笔下的女性人物已开始自我反思并逐步拥有思辨能力，初步形成了女性意识。然而，摩根和希尔达两姐妹的境遇对比表明女性逐步重建的自我意识并未被男权主导的意识形态所接纳。摩根代表了受教育的现代女性，但其混乱落魄的生活与对男性非议的承受与传统女性希尔达享受优越富足的生活和来自于男性的赞美都形成了鲜明的对比。默多克藉此表明教育虽然可以改变女性的命运，但如果这种改变不被男权世界接受，仍会成为女性获得自我意识的障碍。
第三章全面论述了《黑王子》中女性自我身份的建构。默多克在这部小说中再次关注年轻女性的成长并探讨了女性在拥有相对于传统女性更多的自由之后，该如何对男性视域中的女性地位重新思考以及如何按照自我的意志对自我身份进行重新定位。默多克通过三个女人不同的人生观和婚姻观及其由此引发的不同境遇表明：接受教育并不能必然使女性拥有健全的女性自我，女性自我的完整性在于经济层面和精神层面的双重独立。默多克在小说中采用了男性第一人称叙事的方法，并在小说结尾以四个当事人的后记对布拉德雷叙事文本的确定意义进行了解构，完成了女性个体与女性间从失声到发声、从沉默到沟通的叙述主线，重塑了女性建立女性身份的过程。
第四章探讨了小说《善的学徒》中女性自我在真实世界中的重新建构以及如何通过对外在世界“爱的注视”走上“善”之路的过程。这部小说中，默多克笔下的女性人物不仅具有强烈的自我，而且还意识到外在于自我的他人及世界的存在，并在善的指引下，逐渐消解意识中的“自我”，通过“关注”他者进而发现“他性”世界的实在性。此外，默多克还鲜见地刻画了女性权力人物，反奴为主并占据家庭的统治地位，对长期遭受的男权控制和压迫进行反击和报复。但二元对立的打破与主导地位的获取却未能使得女性获得完整的自我。同时，默多克也探讨了女性如何在充满偶在的真实世界中重新定位自我身份的问题以及如何在爱与善的帮助下与偶然世界达成妥协。只有通过关注外在于自我的他人及世界的存在，女性才能在树立女性自我意识、确立了自我身份、进而建构女性自我之后走上真正地重建自我身份并走上向善之路。
结论指出：以默多克的哲学观点为视角，通过对其小说进行文本细读和对女性人物进行分析，发现默多克对女性处境和女性问题不但一直保持关注，而且其笔下女性的自我身份还历经了从解构到重构的嬗变。她对女性问题的思考、对女性境遇的刻画以及她对于女性独立、女性教育的关注都渗透了她关于自我、关注、善、爱等哲学观点。女性人物塑造中体现的渐进变化也体现了默多克本人在女性问题上的认识论发展，其中体现的见解深化并拓展了她的哲学思想。
Iris Murdoch is a renowned female novelist and philosopher in the20thcenturyEnglish literature. In her literary creation, she has a preference for male narration and holdsa reserved attitude to women’s movements with reluctance to be considered as a feministwriter, which permits her realistic depiction of female characters and dispassionate thoughton women’s problems. After the Second World War, the fact that the traditional logos andmoral values have been wrecked deconstructs the traditional female selfhood. Thus, thereconstruction of the selfhood became one of the main focuses in Murdoch’s essays andfiction, especially that of women who are the vulnerable groups in the binary opposition.Considering Murdoch’s philosophical ideas and the sociohistorical background, thedissertation conducts a comprehensive study and analysis of the female characters toillustrate the progressive changes in the deconstruction and reconstruction of femaleselfhood in her fiction from the growth of female-consciousness, to the establishment offemale identity, and to the integration of female self on the pilgrimage to goodness.
The introduction presents Murdoch’s major works and achievements of Iris Murdochas a novelist and philosopher. Then, it undertakes a critical review of the studies onMurdoch’s female characters in China and abroad and argues for the significance of thedissertation for it aims to make up the insufficient integrative research on the femaleselfhood in Murdoch’s fiction. Besides Introduction and Conclusion, there are fourchapters in the dissertation.
Chapter One, with the interpretation and redefinition of the concepts as consciousness,identity and self in Murdoch’s philosophy, analyzes the fragmented self of three femalefigures in The Flight from the Enchanter respectively from the perspectives of self-consciousness, identity and self. The lack of self-consciousness disables the young woman,regardless of the wealthy and decent family background, to escape from the economicexploitation, emotional control and sexual assault of the male. Besides, the femaleimmigrant endures racial and sexual oppressions and finally fails to establish her femaleidentity even though she has been economically independent. Furthermore, the femaleintellectual, too indulgent in her own world to know the reality, fails in her attempt to existas a power figure in the life of two Polish brothers for the gender advantage of the male ismuch more powerful than her racial privilege, which reveals the male dominance in thegender relationship.
Chapter Two demonstrates the growth of female self-consciousness along withrethinking their life and reevaluating themselves with full self-consciousness in A Fairly Honourable Defeat. Murdoch applies her philosophical concepts of form and contingencyto the characterization of female figures and attempts to combine the fixed form of theworld with the uncertainty of life. The vacillation in women’s opinion between form andcontingency proves their speculation quality, which is essential for the growth of self-consciousness. Murdoch focuses on the characterization of the siblings Hilda and Morganrespectively as a typical example of traditional women and modern educated women.Compared with Morgan’s emotional perplexity, economic hardship, and male contempt,Hilda’s affluent life, happy marriage and her popularity among the male indicateMurdoch’s reluctant admission that women still live in the androcentric world where thewomen’s self-improvement are not widely welcome.
Chapter Three explores how women could reconstruct their identity as a self-consciousindividual in the social life in The Black Prince. Murdoch’s view on the reposition ofwomen’s identity is exemplified by Julian’s choice of her life path after she owns morefreedom of choice. Besides, Murdoch illustrates that economic and spiritual independenceis a necessity for female identity through the different ways of Priscilla, Rachel andChristian to survive marriage crisis. Further, Murdoch assigns the narration of a first male-narrator followed by four postscripts in which other characters (three of them are female)get a chance to speak their own view of the events. The well-designed experimentalnarrative mode makes the male-female dialogue on the basis of equality possible.
Chapter Four reveals the difficulty in the formation of female self by portrayingfemale characters’ personal growth through increased awareness of themselves and therelationship with others in The Good Apprentice. Murdoch illustrates that blind hatred andrevenge as well as the lies all hinder women from the integration of female self and fromreaching the state of Goodness. Besides, Murdoch indicates that the woman, as the winnerin the fight against the gender inequality and patriarchal oppression in the family, is likelyto continue the male dominance instead of liberating herself from the male supremacy andattaining the perfect life. Furthermore, Murdoch explores the way for the woman to bringthe life back to the real world and reconcile with the contingency in life. Meanwhile,Murdoch endows the female character with an unusual trait that is seldom found in herother female characters: the consideration of others’ welfare and attention to others’ life.This is just what Murdoch advances in her philosophy as the way to achieve goodness.
This dissertation concludes that at the beginning of her career, Murdoch confined hernarration to the true state of deconstructive female selfhood. And along with thesociocultural changes, she turned to concern about the growth of female self-consciousnessand the establishment of female identity in the novels of her middle period. Apart from the integration of female selfhood, Murdoch has also explored how women could achievehappiness and reach the state of goodness in her later period to a greater extent than in herearly period. While Murdoch conveys her philosophical thoughts in her novels, hercreation of characters and plots in turn enriches and deepens her philosophy.
引文
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范岭梅、尹铁超．时间、女性和死亡——《大海啊,大海》的列维纳斯式解读[J]．外国文学研究，2012，(1)：75-82．
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何伟文．艾丽丝·默多克小说研究[M]．上海：上海外语教育出版社，2012．
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王雅华．超越女性话语，走向“无我”境界——艾丽斯·默多克小说的美学追求，兼论《在网下》[J]．国外文学,2006，(4)：82-91．
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Goshgarian, Gary. From Fable to Flesh: A Study of the Female Characters in the Novels ofIris Murdoch [D]. Diss. U of Wisconsin,1972.---. Feminist Values in the Novels of Iris Murdoch [J]. Revue des Langues Vivantes40(1974):519-27.
Griffin, Gabriele. The Influence of the Writings of Simone Weil on the Fiction of IrisMurdoch [D]. Diss. U of Leicester,1989.
Grimshaw, Tammy. Sexuality, Gender, and Power in Iris Murdoch’s Fiction [M]. Madisonand Teaneck: Fairleigh Dickinson University Press,2005.
Hall, Donald E. Subjectivity[M]. London: Routledge,2004.
Jones, Dorothy. Love and Morality in Iris Murdoch’s The Bell [J]. Meanjin,1967,(26-1):85-90.
Jackson, Rosemary. Fantasy: The Literature of Subversion [M]. London: Methuen,1981.
Khogeer, Afaf Jamil. The Integration of the Self: Women in the Fiction of Iris Murdochand Margaret Drabble [M]. New York: University Press of America,2005.
Lennon, Peter. The Odd (but triumphant) World of Iris Murdoch [A]. Chevalier J. L.(ed.).Rencontres avec Iris Murdoch[C]. France: Centre de Recherches de Litterature etLinguistique des Pays de Langue Anglaise,1978.
Levenson, Michael. The Religion of Fiction [Z]. Degree of Freedom [M]. A. S. Byatt (ed.).London: Vintage,1994:337-344
Montgomery, R. Eugene. The Visionary D. H. Lawrence: Beyond Philosophy and Art [M].Cambridge: Cambridge University Press,1994.
Nicol, Bran. Iris Murdoch: The Retrospective Fiction [M]. New York: Palgrave Macmillan,2004.
Pugh, Martin. Women and the Women’s Movement in Britain [M].1914-1999.2nded.Basingstoke: Macmillan,2000.
Rowe, Margaret Moan. Iris Murdoch and the Case of “Too Many Men”[J]. Studies in theNovel,2004,(1):79-94.
R. P. Lipka&T. M. Brinthaupt (eds.). Self-perspectives Across the Life Span [C]. Albany:State University of New York Press,1992.
Rabinovitz, Rubin&Murdoch, Iris. Six Contemporary British Novelists [C], George Stade(ed.). New York: Columbia University Press,1978.
Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte toLessing [M]. Beijing: Foreign Language Teaching and Research Press,2004.
Seiler-Franklin, Carol. Boulder-Pushers: Women in the Fiction of Margaret Drabble,Doris Lessing, and Iris Murdoch [M]. Berne: Peter Lang AG.1980.
Spear, Hilda D. Iris Murdoch [M]. New York: Palgrave Macmillan,2007.
Sullivan, Zohreh Tawakuli. The Demonic: The Flight from the Enchanter [A]. IrisMurdoch: Modern Critical Views [C], Bloom, Harold (ed.).1986:71-86.
Tomazic, Elizabeth Mary. Ariadne’s Thread: Women and Labyrinths in the Fiction of A.S.Byatt and Iris Murdoch [D]. Australian Catholic University,2005.
Tidd, Ursula. Simone de Beauvoir: Gender and Testimony [M]. Cambridge: CambridgeUniversity Press,1999.
Whiteside, George. The Novels of Iris Murdoch [J]. Critique,1964,(7):27-47.
Widdows, Heather. The Moral Vision of Iris Murdoch [M]. Hampshire: Ashgate,2004.
Waugh, Patricia. Feminine Fictions: Revisiting the Postmodern [M]. London: Routledge,1989.
安宁、袁广涛．以《黑王子》为例浅析艾丽丝·默多克的女性意识[J]．当代外语研究，2011，(10)：47-52.
范岭梅、尹铁超．时间、女性和死亡——《大海啊,大海》的列维纳斯式解读[J]．外国文学研究，2012，(1)：75-82．
范岭梅．善之路：艾丽斯·默多克小说的伦理学阐释[M]．北京：中国省会科学出版社，2010.
何伟文．艾丽丝·默多克小说研究[M]．上海：上海外语教育出版社，2012．
勒内·韦勒克、奥斯汀·沃伦．文学理论[M]．刘象愚等译．北京：文化艺术出版社，2010．
马惠琴．重建策略下的小说创作：爱丽斯·默多克小说的伦理学研究[M]．北京：对外经济贸易大学出版社，2008．
特雷·伊格尔顿．二十世纪西方文学理论[M]．伍小明译．北京：北京大学出版社，2007．
王宁．“后理论时代”的文学与文化研究[M]．北京：北京大学出版社，2009．
王雅华．超越女性话语，走向“无我”境界——艾丽斯·默多克小说的美学追求，兼论《在网下》[J]．国外文学,2006，(4)：82-91．
许健．自由的存在存在的信念：艾丽丝·默多克哲学思想的类存在主义研究[M]．广州：暨南大学出版社，2010．
岳国法．类型修辞与理论叙事：艾丽丝·默多克小说研究[M]．哈尔滨：黑龙江人民出版社，2008．
朱立元．当代西方文艺理论[M]．上海：华东师范大学出版社，1997．