艾倫·莫爾斯撰寫(xiě)的《文學(xué)女性》將女性主義引入了哥特文學(xué)領(lǐng)域,并形成了一種嶄新的文學(xué)批評(píng)流派,稱(chēng)為女性哥特主義,性別研究的一個(gè)重大突破。本文將從女性哥特主義的視角來(lái)解讀莎拉·沃特斯的《半身》和瑪格麗特·阿特伍德的《別名格雷斯》。盡管兩位作家來(lái)自不同的國(guó)家,但她們都把小說(shuō)設(shè)定在19世紀(jì),并同時(shí)采用了女性哥特文學(xué)體裁。英國(guó)當(dāng)代作家莎拉·沃特斯以三本女同性戀小說(shuō)而聞名,這三部女同性戀小說(shuō)被譽(yù)為“維多利亞三部曲”。她的第二部小說(shuō)《半身》講述了兩個(gè)女同性戀主人公之間的故事,獲得了多個(gè)獎(jiǎng)項(xiàng)。加拿大當(dāng)代作家瑪格麗特·阿特伍德一直從事于女性主義創(chuàng)作,她的小說(shuō)《別名格雷斯》重現(xiàn)了歷史上一個(gè)著名的謀殺案。在細(xì)讀《半身》和《別名格雷斯》的基礎(chǔ)上,本論文將研究?jī)刹啃≌f(shuō)共有的女性哥特元素,并探討兩位作家在父權(quán)制背景下運(yùn)用它們的目的。本論文由五個(gè)部分組成。第一部分介紹女性哥特主義,即論文的理論基礎(chǔ)。第二部分將介紹這兩部小說(shuō)和兩位作家。第三部分分析兩部小說(shuō)中的三種女性哥特元素:密室、監(jiān)獄、瘋?cè)嗽阂约袄畏康汝幇档沫h(huán)境設(shè)定。它們象征著父權(quán)制對(duì)“瘋癲”女性的懲罰,透露了女性的絕望;超自然現(xiàn)象的描寫(xiě),鬼魂、招魂說(shuō)和催眠主義反... 

【文章來(lái)源】：廣東外語(yǔ)外貿(mào)大學(xué)廣東省

【文章頁(yè)數(shù)】：64 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
ACKNOWLEDGEMENTS
ABSTRACT
摘要
CHAPTER ONE INTRODUCTION ABOUT GOTHIC AND FEMALE GOTHIC NOVELS
    1.1 The Origin and Evolving of Gothic Novel
    1.2 The Origin and Characteristics of Female Gothic Novel
    1.3 Distinctions between Gothic Novel and Female Gothic Novel
    1.4 Present Studies of Female Gothic
CHAPTER TWO INTRODUCTION ABOUT AFFINITY AND ALIAS GRACE
    2.1 Introduction about the Two Authors and Two Novels
        2.1.1 Introduction of Sarah Waters and Affinity
        2.1.2 Introduction of Margaret Atwood and Alias Grace
        2.1.3 Literature Review of Affinity
        2.1.4 Literature Review of Alias Grace
    2.2 The Significance of Female Gothic Studies for Affinity and Alias Grace
        2.2.1 Requisite Conventions of Female Gothic in the Two Novels
        2.2.2 Unemployed Perspective of Female Gothic
CHAPER THREE GOTHIC ELEMENTS IN AFFINITY AND ALIAS GRACE
    3.1 Natural Environment
        3.1.1 The Millbank Prison and Confined Chamber in Affinity: the Confinement and Oppression of Dawes and Prior
        3.1.2 The Lunatic Asylum and Gloomy Cell in Alias Grace:the Imprisonment and Persecution of Grace
    3.2 Supernatural Occurrence
        3.2.1 Seance and Spiritualism in Affinity
        3.2.2 Ghosts and Neuro-hypnotism in Alias Grace
    3.3 Oppressive Male Roles
        3.3.1 Dictatorial Heroes in Affinity
        3.3.2 Hypocritical and Diabolical Villainies in Alias Grace
CHAPTER FOUR FEMALE GOTHIC MOTIFS OF TWO NOVELS
    4.1 Gothic Heroines’Resistance of Patriarchal Oppression
        4.1.1 Dawes’Escaping from the Prison in Affinity
        4.1.2 Prior’s Jumping into the River to Commit Suicide in Affinity
        4.1.3 Grace’s Quilting in Alias Grace
    4.2 Reconstruction of Female Subjectivity
CHAPTER FIVE CONCLUSION
WORKS CITED


【參考文獻(xiàn)】：
期刊論文
[1]論女性主體意識(shí)[J]. 楊永忠,周慶.  中華女子學(xué)院山東分院學(xué)報(bào). 2010(04)
[2]瑪格麗特·阿特伍德與“百衲被”[J]. 袁霞.  當(dāng)代外國(guó)文學(xué). 2009(03)
[3]互文性與后現(xiàn)代的真實(shí)觀——阿特伍德的《別名格雷斯》研究[J]. 柯倩婷.  國(guó)外文學(xué). 2007(02)
[4]從《別名格雷斯》看阿特伍德的逃生哲學(xué)[J]. 潘守文.  北京第二外國(guó)語(yǔ)學(xué)院學(xué)報(bào). 2006(10)
[5]西方女性哥特研究——兼論女性主義性別與體裁理論[J]. 林斌.  外國(guó)語(yǔ)(上海外國(guó)語(yǔ)大學(xué)學(xué)報(bào)). 2005(02)
[6]追問(wèn)女性的生存狀態(tài)——論瑪格麗特·阿特伍德的新作《別名格雷斯》[J]. 郭英劍.  國(guó)外文學(xué). 2000(01)

碩士論文
[1]“附體”意象的文化溯源和文學(xué)解讀[D]. 董珊珊.廣西師范大學(xué) 2007



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