【摘要】：安吉拉·卡特(1940—1992)是二十世紀(jì)最具才華和創(chuàng)造力的作家之一,在她短暫的一生中,卡特共創(chuàng)作了九部長篇小說,并撰寫了大量評論文章。卡特小說的主題經(jīng)歷了多層嬗變：從靜態(tài)式哥特現(xiàn)實主義到復(fù)調(diào)“流浪者”式的魔幻現(xiàn)實主義,從受制于夫權(quán)到對母權(quán)的贊揚(yáng)。正如評論家帕默所說,卡特的筆下的女性經(jīng)歷的從受虐者到自我實現(xiàn)的女性主義者的轉(zhuǎn)變�？ㄌ匚乃噭�(chuàng)作中最具轉(zhuǎn)折意義的作品—《新夏娃的激情》正屬于后者。在該小說中,卡特試圖顛覆夫權(quán)制中二元對立的關(guān)系,并以“后現(xiàn)代雌雄同體”—變性人艾弗林/夏娃,來闡述“怪誕女性”的相異性特質(zhì)。 本文主體可分為：三大部分。在文章第一部分中，作者通過對巴赫金“狂歡節(jié)式畸人”理論的女性主義解讀,來解碼卡特筆下“女畸人”雌雄同體式的世界觀以及她們打破兩性相異的嘗試；通過對狂歡節(jié)式的怪誕女性自我身份的回探來打破傳統(tǒng)神話中關(guān)于母親、妓女、孕婦以及處女的原型；通過回溯主人公的流浪旅程來打破菲勒斯中心論,并主張回歸到萬物初始時的混沌狀態(tài)。 在本文第二部分中,通過解析“女畸人”—母親(夫權(quán)規(guī)范的激進(jìn)反叛者)、蕾拉(美國資本主義社會誕下的現(xiàn)代妖女)、特里斯岱莎(在鏡中找尋到個人身份的致命女人),作者試圖強(qiáng)化卡特的女性主義觀念,即建立在夫權(quán)制意識形態(tài)之上的性別神話正逐步瓦解。 在《新夏娃的激情》中,女性人物如母親、蕾拉以及特里斯岱莎勇于反撥傳統(tǒng)性別神話,雖然這些女性形象閃耀著女性主義的光芒,但該小說最具爭議性的,仍舊是其主人公的變性人身份。在本文的第三部分,作者解析了主人公艾弗林變身新夏娃的性別轉(zhuǎn)化之旅—艾弗林首先被迫將其男性身份解構(gòu),變身為新彌賽亞；進(jìn)而又顛覆了其變性人的身份,最終重新建構(gòu)起自身雌雄同體的性別身份。通過以上分析,作者試圖闡明,卡特改寫“雌雄同體”的神話,其立意并非為了緩和兩性二元對立狀態(tài),反而是用一種后現(xiàn)代的方式來重新定義變形人性別身份上的流動性和模糊性。雖然艾弗林/夏娃被賦予了女性化的外表,其主體性卻始終在兩性之間徘徊,并使之不斷融合傳統(tǒng)男權(quán)觀和當(dāng)代女性主義特征。
[Abstract]:Angela Carter (1940-1992) was one of the most talented and creative writers of the twentieth century. In her short life, Carter wrote nine novels and a lot of commentaries. The theme of Carter's novels has undergone many changes: from static Gothic realism to polyphonic magic realism, from being subject to the right of husband to praise of the mother's power. As the critic Palmer puts it, Carter's women experience a transformation from masochist to self-actualized feminist. Carter's most turning point in literary creation-the passion of the new Eve belongs to the latter. In this novel, Carter attempts to subvert the dualistic relationship in the patriarchal system, and uses "postmodern androgyny"-transgender Evelyn / Eve, to illustrate the heterogeneity of "grotesque women". The main body of this paper can be divided into three parts. In the first part of the article, the author interprets the feminist interpretation of Bakhtin's theory of "Carnival malformation" to decode Carter's hermaphrodite worldview and their attempt to break the difference between the sexes. To break the archetypes of traditional myths about mothers, prostitutes, pregnant women and virgins through the return of the self-identity of the grotesque women of the carnival style; By looking back on the roaming journey of the protagonist, the author breaks the Philistine centralism and advocates returning to the chaotic state of the beginning of all things. In the second part of this paper, by analyzing the "malformed woman"-the mother (radical rebel of the right of husband), Leila (the modern female born in the American capitalist society), Trisdessa (the fatal woman who finds her personal identity in the mirror), The author tries to strengthen Carter's feminist idea that the gender myth based on the ideology of patriarchal power is gradually disintegrating. In New Eve's Passion, female characters such as Mother, Leila, and Trisdessa are brave to counter traditional gender myths. Although these images of women shine with feminist light, the novel is the most controversial. It is still the transgender identity of its protagonist. In the third part of this paper, the author analyzes the transgender transformation of the protagonist Avery into the New Eve, who was forced to deconstruct his male identity and become the New Messiah. It subverts his transgender identity and finally reconstructs his androgynous gender identity. Through the above analysis, the author tries to clarify that Carter's rewriting of the myth of "androgynous" is not intended to ease the duality of the two sexes. Instead, a post-modern way to redefine the gender identity of shapeshifters mobility and ambiguity. Although Evelyn / Eve is endowed with the appearance of feminization, her subjectivity always lingers between the sexes, and makes it constantly blend the traditional view of male power and the characteristics of contemporary feminism.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：I561.074

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本文編號：2377394