从解构到建构
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摘要
安吉拉·卡特(1940-1992)是英国二十世纪颇具影响力的女性主义作家,她以改写欧洲经典童话和无以伦比的独创风格著称文坛。伊莱恩·肖瓦尔特称其为英国文人的膜拜对象,她对当代英国女性的写作起着关键的影响作用。魔幻现实主义、荒诞派、科幻、哥特、女性主义、后现代主义都可指涉其作品,但皆不足以涵盖其全部,也没有任何一种文体可以完全表现其丰富多变的小说世界。在其二十多年的创作生涯中,卡特始终保持对童话和神话实质的浓厚兴趣,并毕生致力于解构父权制神话对女性本质的界定。在其众多作品中,卡特颠覆传统父权桎梏下刻板的女性形象,为长久以来被男性作家剥夺话语权的广大女性发出自己的声音,还原女性真实而完整的面貌。
论文分为六部分:第一章为引言,介绍卡特本人及其作品、本论文的课题来源和研究新意、国内外研究卡特的现状和水平以及本论文的结构;并指出,卡特在其作品中塑造的形色各异、特立独行的女主人公是对三种传统女性形象——天使、妖妇和圣母形象的解构。
第二章主要介绍西方文学史上女性形象的发展演变及卡特对女性形象的新界定。本章选取“夏娃”这一极具象征意义的文学形象代指女性的一般形象,以此分析从《圣经》里的第一个女性到卡特时代的女性形象的衍变。
第三章着重分析卡特对“幼稚的天使”这一典型的传统女性形象的批判。卡特以欧洲经典童话《蓝胡子》和《美女与野兽》为原型,创作了颠覆经典的另类女性角色:年轻但并不幼稚、不顺从的妻子和自尊自爱、愤世嫉俗的美女。
第四章以《紫姬的爱》为例解构“恶毒的妖妇”。作为天使的对立面,“妖妇”在男权的世界里成为恶魔的象征。在卡特的笔下,人形玩偶紫姬挣脱了男权加诸其上的桎梏和莫须有的罪名,化身成人,宣告对男权的抗争。
第五章主要分析卡特对刻板“圣母”形象的抨击。传统的母亲原型即圣母玛利亚,是博爱、隐忍、无私奉献及安守本分的代名词,而卡特借《血淋淋的卧室》与《新夏娃的激情》里的特立独行的母亲们之手撕破“圣母”的面纱,并指出她们是骑着骏马、孤身救女的英勇母亲,是颠覆男性上帝造人神话的“母神”。
第六章为结论,指出卡特通过对欧洲经典童话的改写以及对两性关系的思考创作,使夏娃得以重生于其迷人魔幻的万花筒世界里,天使、妖妇和圣母得以回归真实的女性形象。
As one of the influential feminist English writers in the twentieth century, Angela Carter (1940-1992) shone in the literary circle for her brilliant, unique style in rewriting classical European fairy tales. Elaine Showalter pointed out that Carter has become a cult figure in English letters and her influence upon British women’s writing was pivotal. Latin-American magical realism, French surrealism, science fiction, gothic, feminism and post-modernism—each category can be applied to her, but none is profound enough to cover all her works or manifest her carnival and kaleidoscopic fictional world. Within her twenty-year creating span, Carter kept a great enthusiasm for rewriting fairy tales and mythology; with a life time effort, she devoted herself to the career of deconstructing the definition of the feminine essence by the patriarchal mythology. In her many works, Carter subverted those mechanically categorized female characters under the patriarchal fetters, voicing for the female deprived of her discourse right by male writers for a very long time, and reconstructed women’s real and diversified images.
This thesis is composed of six chapters. Chapter 1 is to introduce Carter and her works, present the writing intention and innovation of the thesis, and survey the studies on Carter as well as her works. And the paper tries to point out that Carter’s portrayal of many distinctive female characters in her fictions is a kind of deconstruction of three traditional female stereotypes, namely, the“na?ve angel”, the“poisonous siren”and Holy Mother.
In Chapter 2, the author traces the development of female images in Western literary history and explains Carter’s new definition of female image. Selecting Eve, the symbolic literary image, to refer to all female images, this chapter analyzes the origin and development of Eve from the first woman in the Bible to Carter’s time.
Chapter 3 focuses on Carter’s deconstructing the typical traditional image——the“na?ve angel”. Based on the girl archetypes in world classics like the“Bluebeard”and“Beauty and the Beast”, Carter creates two subversive female images: one is a pretty wife, young, but neither na?ve nor submissive, and the other is a cynical, self-respected beauty.
Chapter 4 takes“The Loves of Lady Purple”as an example to deconstruct the“poisonous siren”archetype. As the antithesis of angel,“siren”becomes the incarnation of devil in a patriarchal world. With Carter’s help, the puppet Lady Purple throws off the shackles of patriarchy and unwarranted charges. Changing into a real woman, she announces the war against patriarchy.
Chapter 5 analyzes Carter’s criticism on the stereotypical Holy Mother. The traditional mother archetype stems from Saint Mary, a synonym of universal love, benevolence, unselfish sacrifice and tolerance. With the hands of these independent mothers in“The Bloody Chamber”and The Passion of New Eve, Carter unveils the so-called Holy Mother and creates two extraordinary mother images: one is a brave horse-riding mother, saving her daughter with her own effort, and the other is a goddess-like mother who intends to subvert the creation myth by a male god.
In the conclusion chapter, the author tries to point out that, according to Carter’s rewriting of European classics and her cautious creating practice on heterosexual relationship, Eve, the universal woman, gains her own rebirth from Carter’s fascinating, kaleidoscopic fiction world; and angel, poisonous siren and Holy Mother seize the chance to become not only a woman but a human.
论文分为六部分:第一章为引言,介绍卡特本人及其作品、本论文的课题来源和研究新意、国内外研究卡特的现状和水平以及本论文的结构;并指出,卡特在其作品中塑造的形色各异、特立独行的女主人公是对三种传统女性形象——天使、妖妇和圣母形象的解构。
第二章主要介绍西方文学史上女性形象的发展演变及卡特对女性形象的新界定。本章选取“夏娃”这一极具象征意义的文学形象代指女性的一般形象,以此分析从《圣经》里的第一个女性到卡特时代的女性形象的衍变。
第三章着重分析卡特对“幼稚的天使”这一典型的传统女性形象的批判。卡特以欧洲经典童话《蓝胡子》和《美女与野兽》为原型,创作了颠覆经典的另类女性角色:年轻但并不幼稚、不顺从的妻子和自尊自爱、愤世嫉俗的美女。
第四章以《紫姬的爱》为例解构“恶毒的妖妇”。作为天使的对立面,“妖妇”在男权的世界里成为恶魔的象征。在卡特的笔下,人形玩偶紫姬挣脱了男权加诸其上的桎梏和莫须有的罪名,化身成人,宣告对男权的抗争。
第五章主要分析卡特对刻板“圣母”形象的抨击。传统的母亲原型即圣母玛利亚,是博爱、隐忍、无私奉献及安守本分的代名词,而卡特借《血淋淋的卧室》与《新夏娃的激情》里的特立独行的母亲们之手撕破“圣母”的面纱,并指出她们是骑着骏马、孤身救女的英勇母亲,是颠覆男性上帝造人神话的“母神”。
第六章为结论,指出卡特通过对欧洲经典童话的改写以及对两性关系的思考创作,使夏娃得以重生于其迷人魔幻的万花筒世界里,天使、妖妇和圣母得以回归真实的女性形象。
As one of the influential feminist English writers in the twentieth century, Angela Carter (1940-1992) shone in the literary circle for her brilliant, unique style in rewriting classical European fairy tales. Elaine Showalter pointed out that Carter has become a cult figure in English letters and her influence upon British women’s writing was pivotal. Latin-American magical realism, French surrealism, science fiction, gothic, feminism and post-modernism—each category can be applied to her, but none is profound enough to cover all her works or manifest her carnival and kaleidoscopic fictional world. Within her twenty-year creating span, Carter kept a great enthusiasm for rewriting fairy tales and mythology; with a life time effort, she devoted herself to the career of deconstructing the definition of the feminine essence by the patriarchal mythology. In her many works, Carter subverted those mechanically categorized female characters under the patriarchal fetters, voicing for the female deprived of her discourse right by male writers for a very long time, and reconstructed women’s real and diversified images.
This thesis is composed of six chapters. Chapter 1 is to introduce Carter and her works, present the writing intention and innovation of the thesis, and survey the studies on Carter as well as her works. And the paper tries to point out that Carter’s portrayal of many distinctive female characters in her fictions is a kind of deconstruction of three traditional female stereotypes, namely, the“na?ve angel”, the“poisonous siren”and Holy Mother.
In Chapter 2, the author traces the development of female images in Western literary history and explains Carter’s new definition of female image. Selecting Eve, the symbolic literary image, to refer to all female images, this chapter analyzes the origin and development of Eve from the first woman in the Bible to Carter’s time.
Chapter 3 focuses on Carter’s deconstructing the typical traditional image——the“na?ve angel”. Based on the girl archetypes in world classics like the“Bluebeard”and“Beauty and the Beast”, Carter creates two subversive female images: one is a pretty wife, young, but neither na?ve nor submissive, and the other is a cynical, self-respected beauty.
Chapter 4 takes“The Loves of Lady Purple”as an example to deconstruct the“poisonous siren”archetype. As the antithesis of angel,“siren”becomes the incarnation of devil in a patriarchal world. With Carter’s help, the puppet Lady Purple throws off the shackles of patriarchy and unwarranted charges. Changing into a real woman, she announces the war against patriarchy.
Chapter 5 analyzes Carter’s criticism on the stereotypical Holy Mother. The traditional mother archetype stems from Saint Mary, a synonym of universal love, benevolence, unselfish sacrifice and tolerance. With the hands of these independent mothers in“The Bloody Chamber”and The Passion of New Eve, Carter unveils the so-called Holy Mother and creates two extraordinary mother images: one is a brave horse-riding mother, saving her daughter with her own effort, and the other is a goddess-like mother who intends to subvert the creation myth by a male god.
In the conclusion chapter, the author tries to point out that, according to Carter’s rewriting of European classics and her cautious creating practice on heterosexual relationship, Eve, the universal woman, gains her own rebirth from Carter’s fascinating, kaleidoscopic fiction world; and angel, poisonous siren and Holy Mother seize the chance to become not only a woman but a human.
引文
[1] Abrams, M. H. A Glossary of Literary Term[M]. Beijing: Foreign Languag Teaching and Research Press, 2004.
[2] Barton, John. The Cambridge Companion to Biblical Interpretation[M]. Cambridge: Cambridge University Press, 1998.
[3] Boehm, Beth A. Feminist metafiction and androcentric reading strategies[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[4] Brooke, Patricia. Lyons and Tigers and Wolves-Oh My!—Revisionary Fairy Tales in the Work of Angela Carter[C]. In Critical Survey[M]. 2004, Vol.16 Issuel.
[5] Bryant, Sylvia. Re-constructing Oedipus through“beauty and the beast”[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[6] Carter, Angela. The Passion of New Eve [M]. London: Virago Press, 1977. ---- Notes from the Front Line[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carte [C]. New York: G.K.Hall&Co., 1998. ----“The Tiger’s Bride”in The Bloody Chamber and Other Stories[M]. London: Vintage Press, 1995. ----“The Bloody Chamber”in The Bloody Chamber and Other Stories[M]. London: Vintage Press, 1995. ----“The Loves of Lady Purple”in Fireworks[M]. London: Virago Press, 1988. ----The Sadeian Woman: An Exercise in Cultural History[M]. London: Virago Press, 1979. ---- Sleeping Beauty: And Other Favorite Fairy Tales[M]. London: Houghton Mifflin, 1992. ---- Nothing Sacred: Selected Writings [M]. London: Virago Press, 1992.
[7] Chodorow, Nancy &Contratto, Susan. The fantasy of the perfect mother[A]. In Liu Yan (ed.) A Theoretical Reader in Motherhood[C]. Wuhan: Wuhan University Press, 2007.
[8] De Beauvoir, Simone. The Second Sex[M]. Trans. H.M. Parshley. New York: Random, 1989.
[9] De Grazia, Margreta. The Cambridge Companion to Shakespeare[M]. Cambridge: Cambridge University Press, 2001.
[10] Emma Pi-tai Peng. Angela Carter’s Postmodern Feminism and the Gothic Uncanny[D]. Taiwan: National Taiwan University, 2004.
[11] Forster, E.M. Aspects of the Novel[M]. London: Harvest Books, 1956.
[12] Feng Haiqing. On the Thematic Feature of Angela Carter’s Fiction[D]. Jinan: Shandong Normal University, 2005.
[13] Frye, Northrop. Anatomy of Criticism[M]. Princeton: Princeton University Press, 1957.
[14] Harris, Stephen L&Platzner, Gloria. Classical Mythology: Images and Insights[M].California: Mayfield Pub. Co., 2001.
[15] Head, Dominic. Modern British Fiction, 1950-2000[M]. Chongqing: Chongqing Press, 2006.
[16] Huang Jie, The Demythologizing Business”—On Angela Carter’s Re-visionist Short Stories[D]. Suzhou: Suzhou University, 2006.
[17] King James Version. The Holy Bible[M]. New York: Ballantine Books, 1991.
[18] Liu Nan, From Naive, to Submissive, to Rebellious—On the Growth of the Same Character in Three Versions of Little Red Riding Hood[D]. Liaoning: Jilin University, 2004.
[19] Liu Yan. A Theoretical Reader in Motherhood[M]. Wuhan:Wuhan University Press,2007.
[20] Rich, Adrienne. The“sacred calling”[A]. In Liu Yan (ed.) A Theoretical Reader in Motherhood[M]. Wuhan: Wuhan University Press. 2007.
[21] Rushdie, Salman. Angela Carter, 1940-92: A Very Good Wizard, A Very Dear Friend[J]. http://www.nytimes.com/books/98/12/27/specialcarter-rushide.html, 1998.
[22] Sage, Lorna. Flesh and the Mirror: Essays on the Art of Angela Carter[C]. London: Virago, 1994.
[23] Sheets, Robin Ann. Pornography, fairy tales, and feminism[A]. In Tucker, Lindsey (ed.) Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[24] Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing[M]. Beijing: Foreign Languag Teaching and Research Press, 2004.
[25] Tucker, Lindsey Ed. Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[26] Trumble, William&Brown, Lesley. Shorter Oxford English Dictionary[D]. Oxford: Oxford University Press, 2002.
[27] Vallorani, Nicoletta. The body of the city: Angela Carter’s The Passion of New Eve[A]. In Tucker, Lindsey (ed.) Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[28] VanderMeer, Jeff. The Infernal Desire Machines of Angela Carter[J]. http://www.themodernword.com/scriptorium/carter.html, 2001.
[29] Warkins, Susan. Twentieth-Century Women Novelists[M] New York: Palgrave, 2001.
[30] Woolf, Virginia. A Room of One’s Own[M]. New York&London: Harcourt Brace &Company, 1957.
[31] Zhu Gang. Twentieth Century Western Critical Theories[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.
[32]罗艳,徐建纲.在魔幻与现实中穿行——解读安吉拉·卡特之《血窟》[J].科教文汇,2007(2): 88-90.
[33]欧阳美和,徐崇亮《.新夏娃受难记》的女性主义解读[J].外国文学研究, 2003(4): 73-77.
[34]张中载.当代英国文学论文集[C].北京:外语教学与研究出版社,1996.
[35]卓慧榛.嘉年华女性幻想社会批评[J].外国文学评论, 2004(2): 107-115.
[2] Barton, John. The Cambridge Companion to Biblical Interpretation[M]. Cambridge: Cambridge University Press, 1998.
[3] Boehm, Beth A. Feminist metafiction and androcentric reading strategies[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[4] Brooke, Patricia. Lyons and Tigers and Wolves-Oh My!—Revisionary Fairy Tales in the Work of Angela Carter[C]. In Critical Survey[M]. 2004, Vol.16 Issuel.
[5] Bryant, Sylvia. Re-constructing Oedipus through“beauty and the beast”[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[6] Carter, Angela. The Passion of New Eve [M]. London: Virago Press, 1977. ---- Notes from the Front Line[A]. In Tucker, Lindsey (ed.). Critical Essays on Angela Carte [C]. New York: G.K.Hall&Co., 1998. ----“The Tiger’s Bride”in The Bloody Chamber and Other Stories[M]. London: Vintage Press, 1995. ----“The Bloody Chamber”in The Bloody Chamber and Other Stories[M]. London: Vintage Press, 1995. ----“The Loves of Lady Purple”in Fireworks[M]. London: Virago Press, 1988. ----The Sadeian Woman: An Exercise in Cultural History[M]. London: Virago Press, 1979. ---- Sleeping Beauty: And Other Favorite Fairy Tales[M]. London: Houghton Mifflin, 1992. ---- Nothing Sacred: Selected Writings [M]. London: Virago Press, 1992.
[7] Chodorow, Nancy &Contratto, Susan. The fantasy of the perfect mother[A]. In Liu Yan (ed.) A Theoretical Reader in Motherhood[C]. Wuhan: Wuhan University Press, 2007.
[8] De Beauvoir, Simone. The Second Sex[M]. Trans. H.M. Parshley. New York: Random, 1989.
[9] De Grazia, Margreta. The Cambridge Companion to Shakespeare[M]. Cambridge: Cambridge University Press, 2001.
[10] Emma Pi-tai Peng. Angela Carter’s Postmodern Feminism and the Gothic Uncanny[D]. Taiwan: National Taiwan University, 2004.
[11] Forster, E.M. Aspects of the Novel[M]. London: Harvest Books, 1956.
[12] Feng Haiqing. On the Thematic Feature of Angela Carter’s Fiction[D]. Jinan: Shandong Normal University, 2005.
[13] Frye, Northrop. Anatomy of Criticism[M]. Princeton: Princeton University Press, 1957.
[14] Harris, Stephen L&Platzner, Gloria. Classical Mythology: Images and Insights[M].California: Mayfield Pub. Co., 2001.
[15] Head, Dominic. Modern British Fiction, 1950-2000[M]. Chongqing: Chongqing Press, 2006.
[16] Huang Jie, The Demythologizing Business”—On Angela Carter’s Re-visionist Short Stories[D]. Suzhou: Suzhou University, 2006.
[17] King James Version. The Holy Bible[M]. New York: Ballantine Books, 1991.
[18] Liu Nan, From Naive, to Submissive, to Rebellious—On the Growth of the Same Character in Three Versions of Little Red Riding Hood[D]. Liaoning: Jilin University, 2004.
[19] Liu Yan. A Theoretical Reader in Motherhood[M]. Wuhan:Wuhan University Press,2007.
[20] Rich, Adrienne. The“sacred calling”[A]. In Liu Yan (ed.) A Theoretical Reader in Motherhood[M]. Wuhan: Wuhan University Press. 2007.
[21] Rushdie, Salman. Angela Carter, 1940-92: A Very Good Wizard, A Very Dear Friend[J]. http://www.nytimes.com/books/98/12/27/specialcarter-rushide.html, 1998.
[22] Sage, Lorna. Flesh and the Mirror: Essays on the Art of Angela Carter[C]. London: Virago, 1994.
[23] Sheets, Robin Ann. Pornography, fairy tales, and feminism[A]. In Tucker, Lindsey (ed.) Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[24] Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing[M]. Beijing: Foreign Languag Teaching and Research Press, 2004.
[25] Tucker, Lindsey Ed. Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[26] Trumble, William&Brown, Lesley. Shorter Oxford English Dictionary[D]. Oxford: Oxford University Press, 2002.
[27] Vallorani, Nicoletta. The body of the city: Angela Carter’s The Passion of New Eve[A]. In Tucker, Lindsey (ed.) Critical Essays on Angela Carter[C]. New York: G.K.Hall&Co., 1998.
[28] VanderMeer, Jeff. The Infernal Desire Machines of Angela Carter[J]. http://www.themodernword.com/scriptorium/carter.html, 2001.
[29] Warkins, Susan. Twentieth-Century Women Novelists[M] New York: Palgrave, 2001.
[30] Woolf, Virginia. A Room of One’s Own[M]. New York&London: Harcourt Brace &Company, 1957.
[31] Zhu Gang. Twentieth Century Western Critical Theories[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.
[32]罗艳,徐建纲.在魔幻与现实中穿行——解读安吉拉·卡特之《血窟》[J].科教文汇,2007(2): 88-90.
[33]欧阳美和,徐崇亮《.新夏娃受难记》的女性主义解读[J].外国文学研究, 2003(4): 73-77.
[34]张中载.当代英国文学论文集[C].北京:外语教学与研究出版社,1996.
[35]卓慧榛.嘉年华女性幻想社会批评[J].外国文学评论, 2004(2): 107-115.